This is one of those stories that just pops up every once in awhile because the prospect of continuing the Jurassic Park franchise is just that damn intriguing. We even posted about it a few months ago when Hasbro announced the revival of the toyline.

Now AICN is reporting that Jurassic Park III director Joe Johnston, who’s next project is Marvel’s Captain America film, chatted with them about the film while on the set of the Wolfman ( his most recent film).

“There is a great story for the fourth one that I would be interested in getting involved with and it’s nothing like the first three. It sort of takes the franchise off in a completely different direction, which is the only way I would want to get involved.”

“We’ve done that and it’s been done three times. Why would anybody go back to that island? It was hard enough to figure out the second and third reason for them to go, but it would take it off in a whole other trilogy basically, but when it gets to that level it’s sort of about studios and Steven’s thing and who knows. I think we are at that point where we are due for another one if we are going to do it. They had what four years between them? 1992… 1996 or 1997, and then 2001, so we are past due. I don’t know, but we will see.”

Sounds like everything we have ever heard about this project which just seems to be in development hell and rightfully so because of what Johnston said, you have to do something new that hasn’t been done before. I wrote a treatment for a new trilogy that revolves around a “new” company, Biosyn (Dodson’s company - the guy that bought off Nedry in film one) had bought out Ingen and succeeded where they had failed by bringing the research to a whole new level combining nanotechnology and genetic engineering. You have the mixture of life-size dinos like we love but then there are these dinopets that people own.Anyway I not going to write anymore because its not that bad  of an idea and it brings everyone back as well in a creative and non-cheesy way. It is sort of the Dino-geddon route though.

Anyway I doubt we will see a Jurassic Park IV anytime soon but one thing I am sure if they did another one and Spielberg produced i am sure it would be 3D and such and maybe filmed like Avatar, that would be interesting.

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So Universal’s horror remake The Wolfman has been the subject of scrutiny due to hits multiple release date changes. I still think the film looks descent but the concern is how good is it based on the theatrical release shuffle. i love the cast though with Benecio del Toro, Anthony Hopkins, Hugo Weaving and Emily Blunt to name a few.

Cinematical and Ain’t It Cool News have just released the first two new posters for the film which is set for release on February 12, 2010. This is some of the best promotional art I have seen for the film.

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When I first heard about the The House of the Devil, my heart skipped a beat.  I thought, “This could be the movie!  This could save horror from the Michael Bays of the world!”  Naturally, I was excited.  I found the earliest opportunity to go see this apparent salvation of the horror genre.

The House of the Devil is a throwback of sorts, or so they say.  It’s an eighties period piece that relies on the format of those films, but only to a point.  In fact, during the opening credits I was time-travelling back to my childhood.  College sophomore Samantha wanders about in her puffy coat and high-waisted jeans with those old headphones attached to her walkman (yes, an actual walkman! How fun!)  For just a moment, during the opening credits as the screen froze on arbitrary images of Samantha on her college campus, I thought, “Hey, are we watching a Tarantino film?”  But no, we weren’t.  We were watching an eighties horror movie.  It just happened to be made in 2009.

Samantha is in need of money.  She’s trying to escape her horrible dorm room, which she shares with a turbo slut who apparently does not know how to put anything in the hamper.  She leaves socks on the door, and Samantha can never get into her own room to study, to sleep, to simply live.  Because of this, she finds herself the perfect apartment.  Dee Wallace (yay!  Dee Wallace!  World’s greatest werewolf!) likes her.  She knows she’s a little broke, but she trusts her instincts and tells Samantha that she will waive the deposit for her if she brings the first month’s rent on Monday.

Samantha walks away ecstatic.  But where will she get the money?  Her best friend Megan offers to get money from her family for help, but as we all know, pride is the killer, and Samantha declines.  She instead agrees to babysit for a family in the country that is more than a little on the creepy side.  Megan drives her out into the middle of nowhere, and she accepts the babysitting gig-even though the family has lied to her about having a young child (they don’t) and offered to pay her way more than the gig is worth (four hundred eighties bucks).  And yet, she doesn’t really catch the weirdness of this.

As soon as Mr. and Mrs. Ulman leave, Samantha begins her terrible evening torment.  At first the events seem to be the normal groaning of an old house-noises in the attic and basement.  And this is the stuff of super fun horror-viewing.  For the first time since the actual eighties, I found this whole location-based terror scenario totally terrifying.  I was legitimately creeped out on more than one occasion.  I even found myself uttering “No!  No!  No!” a couple of times.  It seemed to me that Samantha, bright young college student that she is, was one of the world’s less easily duped horror heroines.

Though, that’s not saying much.

This film has atmosphere.  From the moment Samantha enters the house, there is a majorly creepy vibe that just doesn’t seem to fade.  It’s one of the most tension-based films I have seen in years, and it totally succeeds in making the audience squirm in their chairs.  The moments of physical violence that happen in the rising action of the film are actually very minimal, but their execution is utterly shocking.  In fact, after someone was shot in the head with very little lead-in, I actually found myself turning to my buddy and saying “Well, that was fast.”

This sounds like a complaint.  But it is exactly the opposite.  Ti West does not pull any punches in his film, and he certainly doesn’t talk down to his audience.  He counts on us knowing exactly where he’s headed, and as such, he doesn’t bother with any of those ridiculous preambles that audiences have become so disillusioned with.  This is a film based on actual terror.

The House of the Devil taps into fears we’ve had for years.  In fact, the film opens with a black screen and white text informing us of the percentage of people in the eighties in the United States who actually believed that extreme Satanic cults existed and committed frequent acts of super-evil.  As such, it immediately connects to the notion of eighties excess.  As my friend mentioned while we were waiting on the subway platform, “Great horror movies all come out of oppressive regimes.”  And Reagan gave us such a regime.  And so the eighties produced mountains of good horror (and mini-mountains of awful horror).  And the film feels a lot like an eighties horror movie for the most part.  (Let’s face it.  Slashers are eighties.  The Devil is late seventies.  But okay.  We can let this go.)

While the film keeps its focus tightly on the feeling of being alone in this strange house, it functions beautifully.  It is truly terrifying on many levels, and it manages to keep the tone solidly until the last thirty minutes or so.

This is when the trouble comes in.  The movie drastically shifts gears in the last thirty minutes.  In truth, the last thirty minutes were like an entirely different movie.  This is not to say the plot changes.  It doesn’t.  Everything follows very logically.  But the film feels different.  The tone is changed completely, and there is suddenly a different visual to the film, and it loses its very subtle and satisfying feel.

The end result of this shift is a slightly less terrifying feeling than we had in the first two thirds of the film.  And this is a bummer.  The lighting of the climax is overdramatic, and the physical deformity of the “demon” is overdone.  That’s the problem, it seems, with the end of the film.  It’s overdone.  And this is the thing that keeps me from saying, “Holy shit!  This movie was amazing!”  Up until the climax, I was ready to say that I did.  I was ready to profess it the greatest horror movie of the last five years.  But I can’t do that.  I have to say that it’s simply one of the better horror movies of the last five years.

I feel like the Duke, and all I can say with great certainty is “Generally I like it.”  So when I am asked if I think people should see it, well, I have to “yes.”  They should see it.  It’s still better than any of the schlock that has come out in major studio release.  And for the most part, the film is totally rad and makes us crazy scared and happy.  So yes, see it.  But be ready the shift.  Be ready to change gears or you’ll be really disappointed.

In either case, Ti West is something to grateful for.  One can hope he’ll just keep this up, maybe he’ll be the savior of the horror genre from here on out.  Maybe he can slowly grow and develop into a new atmospheric horror filmmaker who understands those of who show up no matter what-even though we are too smart for most of the crapola that comes out these days.  Maybe he can save us all.

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Join TV and Film enthusiasts from Fused Film’s Entertainment Overload as they talk about the geekiest and biggest movies in this weekly podcast for fans and geeks alike. Welcome to an insightful and entertaining fanboy perspective on all things awesome.

Subscribe via: RSS or  iTunes

Episode 84 - The WonderRob Experience

Recorded November 7, 2009. Justin Vactor is joined by WonderRob to discuss what’s been overloading them and what games to look forward to for Fall/Holiday 2009.

Justin Vactor:

Zombieland for the 3rd Time

This Is It

WonderRob:

Dexter

The boys also discuss the Holiday 2009 video game releases that are going to be overloading them.

Thanks for listening to Entertainment Overload! Please let us know what you thought of this episode by leaving a comment below or e-mailing us at website@fusedfilm.com or leave us a voicemail at (206) 426-2971-we appreciate your feedback!

Download Now!

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When FusedFilm.com began its rebranding campaign in 2009 for our first appearance at Comic-Con we wanted to bring us into the realm of connecting people better to the world of film, television and entertainment. Hence why our mantra changed from “stay fused on film” to “fusing film fans with Hollywood and beyond” it was my belief that branding the site in that way would not only fit our new version 2.0 designs but harp on the very foundation of this site which is to fuse you with all of the interesting stories, news and people that make up the entertainment industry.

Now let’s track back to SDCC because it’s perhaps Comic-Con that leads me to this interview. The marketing firm behind Solomon Kane’s appearance at Comic-Con that reached out to me to let me know that they would be premiering footage of the film never heard from me, I didn’t know anything about the movie and knew that being stuck in Hall H all day would prohibit me from seeing anything good. I never reached back out until now. Having seen the first trailer of Solomon Kane, having seen the posters and some other promotional materials for the film I realized this was a special film that had a lot of things that resonated with me and the films I love to watch.

So this afternoon I was able to spend some time chatting with Michael J. Bassett, the passionate young British filmmaker and screenwriter behind the live action version of the classic pulp fantasy novel. What a connection as he was a very interesting guy who loves movies and is passionate about them so much.

In just the first few words I could tell how energetic and proud Bassett was of his film and we immediately dove into great conversations on the film, the distribution, his previous works, his future as a filmmaker and ultimately the future of Solomon Kane, including ideas for a sequel, etc. Enjoy some new photos and web widgets for the film as well.

Hey Michael, How are you Man?

Oh I am great it’s a nice cold, rainy fall day here in England.

Well I hate to tell you it’s a nice 75 degree day here in Memphis

Oh wow! Bet it feels lovely.

So thanks for taking the time to speak with me about Solomon Kane.

Oh no problem mate I love your site and was happy to chat with you.

So when I sat down to prep this interview I didn’t know a lot about you and your filmography. Who is Michael J. Bassett, talk about your work man?

Well I am guy who loves reality! But I am a guy who loves movies and using them to explore reality in so many different ways. In fact that’s why I love Robert Howard (creator of Solomon Kane) but even more so a guy by the name of Michael Moorcock, a UK pulp fantasy writer in the vein of Howard. He was a guy who just had a knack for making these sophisticated fantasy stories which had such a real emotional and physical feel to them. They were brutal and intense and I loved them. In my first movie Deathwatch I used a lot of influence from his writing into that movie and if you watch it you can definitely tell that. Perhaps there was some of his influence into some things on Solomon Kane.

Yeah I have never heard of him, I’ll have to check him out. So tell me about Solomon Kane, this movie looks so visually epic but so real at the same time?

Well I am glad you see it that way because that’s how I wanted it to be. Solomon Kane is kind of in a class itself and it’s hard to put into a comparison in the film world because there isn’t one. I wanted it to be an adult, more sophisticated fantasy film, something that didn’t seem childish. Sure you have demons and creatures in the world and those cliché fantasy elements but everything in the environments are real. The wind, the sleet, the rain, the mud all of those things are real. Hence where I was going before that I like blending as much reality into this fantasy world because even though there are things you know aren’t something you’d run across everyday that the world itself, the settings, the locations would be real and feel that way too.

Yeah, that is a difference, I mean a lot of Fantasy stories just seem so intangible and childish or even too fake, I mean you know its shot on a green screen. So you mention the environments, how challenging was that as a filmmaker and for the production itself.

Well we shot the movie in Czech Republic and I had some of the same crew I did on my first movie Deathwatch and I filmed that movie in the same elements and they were like ‘oh man not the rain guy again.’ But I thought it was necessary for the film, I wasn’t interested in making a Solomon Kane movie that didn’t seem real that didn’t carry that same pulp fantasy element the way Howard wrote it and a studio version would maybe not have turned out that way. Also the fact that I wanted to shy away from the trend of the blue/green screen for a fantasy film.

So the movie is independently financed and stuff right?

Yeah it has two sets of producers one of which is Samuel Hadida, who produced a great French fantasy, horror film called The Brotherhood of the Wolf (Oh yeah I have seen it! Awesome movie!). Then you will like the fact that I got the same DP from that film to do the photography style for Solomon Kane, so it has some similar looks to it. But Hadida and these 2 other guys, who used to manage the band, Duran Duran, back in the eighties, are producing the film. In fact I reached out to them when they secured the rights to the film of Kane and told them I wanted to write it, they gave the opportunity to write it as a low budget project and then eventually it grew into where it is now. There was a point where I am sure they had other directors in mind but they liked my vision for the movie and where I wanted to go with it.

Wow that is cool! So Solomon Kane, tell those out there that may not be aware of the character and Howard’s stories a little bit about the character and what to expect and maybe what you want them to get out of the movie.

Well Kane is a guy that is as psychologically intense as he is physically so there is an adult sophistication involved there. But Solomon Kane is also first and foremost a movie I wanted to entertain people with and I know they will be entertained. But I hope they get from the character is understanding. This is a true hero’s journey, he is this broken hero that you can connect with and understand his nature in such a fucked up world but with all those physical and mental challenges that go into that.

Well you have me sold on the movie for sure! So tell me a little bit more about yourself and what may have inspired you as a filmmaker.

Oh man…well…I love movies I always have, my parents were never into them and they still aren’t but when I was in my teens, a little older maybe I used to cut school with some mates and we would just watch movies like Wes Craven’s The Hills Have Eyes and John Carpenter films. I love guys like James Cameron and Ridley Scott and their use of the camera the styles they use in their films and I always wanted to make movies like that. Perhaps it was the VHS that really changed things for me because there were a lot of movies you couldn’t get here in England but the VHS changed all that distribution because they were universal and so I could watch movies like The Hills Have Eyes, I mean I loved the Highlander film and such and it was just awesome. I did get in trouble from one of my teachers who caught me cutting and they asked me ‘what are those movies possibly going to do for your future’ guess they should find out what I do now.

HAHA! That’s cool! The ultimate look at me now! So tell me about James Purefoy. Was he someone you always wanted for the role of Solomon Kane? Did you look at anyone else? What did he bring to the character and film?

Well producers always want a name to be in a movie like this as it helps sell it amongst other things and since I am not a name director, which is even more so. I mean we had the usual wish list of guys we thought would work in the role psychologically but physically too. Perhaps the two guys we looked at before James (and he knows there were other actors considered, hell I know there were other directors considered before me) were Christian Bale and Viggo Mortensen. I mean how could you not look at those guys? They are just manly men with that bruit physicality you’d want for this role.

(So when did you settle on James?) Well he came into the mix I had known him from an interview I did as an Electronic Press Kit director and we had sort of kept in touch but I wasn’t sure I liked him for the role because he always seemed like a James Bond guy, that classy type. However he came in and screen tested and totally changed that idea. He took the script home and showed it to his son and his son loved it and basically told him that if he didn’t get the role he’d kill him. So eventually we settled on him, I was sold on him though from the minute he tested with us. He was awesome to work with; I mean so amazing the things he did. The role was so physical and he was a great sport, he was in great shape. During the filming he got hit by a sword and it cut him on the forehead and he had to have like five or six stitches in his head. He also tore some ligaments in his knee so after stunts and stuff he had to get his knee drained on set. He never complained, never missed a day, it was amazing.

Would you work with him again?

Oh hell yeah! He was awesome to work with. He got so psychologically into the character of Kane. I do actually have project that him and I have talked about that is a thriller of sorts and I’d love to do that with him.

So what about the future of Solomon Kane, do you have a US distributor yet? What about sequels, because we have heard that this was set-up as a trilogy?

Well we are currently looking for a US distributor, like I told you in the beginning; the movie is different so they have to figure how to sell it. The fans love it and we have had some great buzz from the beginning, especially from Toronto Film Festival so hopefully you will see the film in 2010. About the sequels we have some things in place and there were things that we did to ensure that we could continue the story. I will say this is an original story and perhaps this is where our little fan criticism has come in, we wanted to give Kane a back-story and there were some rules there and the reason is because non-fans would know more about the character and why he is the way he is. By the end of the movie though, he is the very much everything the Howard character was designed to be and that was important to us.

Well Michael, I wanted to thank you for taking your time to talk to me today. I enjoyed it very much. Please let us know any developments and we can’t wait to see the movie.

Oh no problem man! Love your site, keep up the good work. We’ll talk down the road. Be good mate.

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A few weeks ago we posted a story that JJ Abrams was developing a new spy project for TV that was purchased by NBC. At the time the project didn’t have a name but that has since changed, Undercovers, is the working title at this point and we are told its a mix between “Mr. & Mrs. Smith” and “The Bourne Identity.”

I am glad that has come out because when we read the initial description I kept saying Mr. And Mrs Smith.

Perhaps the most interesting thing to come out now is that the pilot episode will be directed by Abrams. The series must be damn good and close to his heart as he is not directing anything else, even passing on M:I IV and the Fringe pilot last year.

Schedule permitting, Abrams will make Undercovers the first TV pilot he has directed since 2004’s Lost opener often considered one of the best-directed pilots of all time which helped launch Abrams’ career into helming such theatrical films as Mission: Impossible 3 and this summer’s hit, Star Trek.

I am really excited about this show as it is hard to not be excited about anything JJ does but him directing the pilot is awesome too and that he still takes to his roots not getting a big head about being a big blockbuster director these days.

Also there is other incentives involved into why high-profile directors direct TV pilots of shows they executive produce, like McG directing the Supernatural pilot or The O.C. pilot or even Peter Berg directing Friday Night Lights pilot or in this case JJ directing Undercovers.

Based on how this has been explained to me and please correct me if I am wrong but pilot directors make the most money off syndication of a series, so the series may have 10 directors or more throughout its run but its the pilot director that makes the most in royalties and such, hence why the appeal to direct a pilot episode.

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Anna Faris and Dan Aykroyd are headed to Jellystone to find “Pic-a-nic Baskets” as they are in talks to star in Warner Bros. Yogi Bear. This will be a feature film based on the popular Hanna-Barbera cartoon. Also negotiating to join the project is Justin Timberlake.

Eric Brevig is directing this project which will be both live-action/CG. Faris is going to play a nature documentarian who tags along on the antics of a bear in Jellystone Park. Aykroyd is going to voice Yogi and Timberlake might voice Yogi’s companion, Boo Boo.

Joshua Sternin and Jeff Ventimilia wrote the original draft of this film, while Brad Copeland has written the most recent one. The plan is for production on this project to start in New Zealand this December.

When I originally read this story I thought that Aykroyd would be a good fit as Ranger Smith but his voice would serve as a good Yogi as well. I like the idea of getting Faris as a documentary filmmaker which is a nice clever add in to the series idea because the initial cartoon plot was always the same.

Yogi, accompanied by his constant companion Boo Boo, would often try to steal picnic (”pick-a-nic”) baskets from campers in the park, much to the displeasure of Park Ranger Smith. A girlfriend, Cindy Bear, sometimes appeared and usually disapproved of Yogi’s antics. Yogi is known for his famous sayings such as the one “I’m smarter than the average bear!” He often greets the ranger with a cordial, “Hello, Mr. Ranger, sir!” He also likes to say, “Hey, Boo Boo!” as his preferred greeting to his humble sidekick.

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IGN has just premiered four character posters from Matthew Vaughn’s (Layer Cake) hugely anticipated action flick, Kick-Ass! Check them out below…

The film, based on Mark Millar’s comic book, tells the story of average teenager Dave Lizewski (Aaron Johnson), a comic-book fanboy who decides to take his obsession as inspiration to become a real-life superhero. As any good superhero would, he chooses a new name - Kick-Ass! - assembles a suit and mask to wear, and gets to work fighting crime. There’s only one problem standing in his way: Kick-Ass has absolutely no superpowers.

His life is forever changed as he inspires a subculture of copy cats, is hunted by assorted violent and unpleasant characters, and meets up with a pair of crazed vigilantes, including an 11-year-old sword-wielding dynamo, Hit Girl (Chloe Moretz) and her father, Big Daddy (Nicolas Cage).

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Sundance here we come! or rather Ann Arbor, MI (Michigan Theater), Brookline, MA (Coolidge Corner Theatre), Brooklyn, NY (BAM), Chicago, IL (Music Box Theatre), Los Angeles, CA (Downtown Independent), Madison, WI (Sundance Cinemas Madison), Nashville, TN (The Belcourt Theatre) or San Francisco, CA (Sundance Kabuki Cinemas).

For one night during the 2010 Sundance Film Festival, the event will expand beyond Park City, UT to theaters in eight American cities. On January 28, 2010, eight Sundance 2010 filmmakers will take their films across the country. Being Dubbed Sundance Film Festival U.S.A, the new initiative is being pitched by the festival as “a night of ideas across the country.”

Selections for films and filmmakers traveling to the eight cities will take place shortly after the programming announcement in December. All films will be selected from the official Sundance Film Festival program.

The 2010 Sundance Film Festival will run from January 21 - 31, 2010 in Utah at its traditional Parks City location featuring hundreds of films.

The concept behind this Sundance Film Festival U.S.A. is to ignite dialogue as people across the country engage in a collective film experience,” said Sundance Institute president and founder Robert Redford, in a statement. “We hope by speaking with artists about their work and experiencing the Festival as it is happening, audiences will be inspired to share opinions, discuss the key issues of our day and reflect on the role art plays in social change.”

I think this is all great and wonderful but at the same time nothing compares to actually going to the festival itself, though we have never been, the coverage some of our friend sites give is uncanny and that stems from actually being at the festival location itself. That being said there is a lot of great premieres at the festival every year and maybe folks will get a chance to see them instead of waiting for distributors to pick them or the buzz to get big enough on the internet.

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