Okay, try and stay with me on this: it's a movie about six children who are genetically engineered to fly. Now, what if said kids escaped from those experimenting on them and were subsequently pursued by a pack of human-wolf hybrids?

I know what you're thinking -- that this could either be the best movie ever made or anything but. Variety has reason to think that Columbia is tipping towards the former, as they've picked up the rights to James Patterson's young adult book series, Maximum Ride. It seems like quite the change of pace for Patterson, he of Alex Cross mystery fame, but as far as the adaptation is concerned, perhaps Don Payne can rein things in, what with two straight-up superhero scripts already under his belt. Oh, and did I mention that frequent Marvel movie producer Avi Arad is also on board?

(Dare I make a suggestion, though: the title makes me think of a guide to Jean-Claude Van Damme's all-time favorite rollercoasters more than a mutants-on-the-lam saga. Just sayin'.)

Can any of our trusty readers vouch for the novels, or at least for their offspring who might have picked up at least one of the four published to date? Are those as new to the concept as I am game for this potential franchise in the making? Goodness knows that we'll need something to fill that supernatural-teen gap post-Twilight...

If there's one movie descriptive that can actually get my jaded heart racing, it's "in the style of L.A. Confidential." Sure, it's glib, and probably sells the potential film and its source material short, but I can't help it, it's a magical phrase. And The Hollywood Reporter (by way of Lakeshore Entertainment) used it to describe Barry Levinson's latest movie.

Levinson is set to direct an adaptation of Peter Dexter's novel Train, a story set in 1950's Southern California. It centers around Miller Packard, a white sergeant in the San Diego Police Department, who has little time for the hypocrisy and racism of his age. An avid golfer, he befriends a troubled young African-American caddy named Lionel "Train" Walk, who harbors knowledge of an unreported murder that haunts his past. The city politics and racism of the 50's surround the murder investigation, and threaten their friendship.

Dexter's books have been popular in Hollywood recently -- he was the pen behind Mulholland Falls and The Paperboy is currently in production with Paul Verhoven and Jan de Bont. Unlike with Falls, he won't be penning the script this time around. That job falls to Allison Burnett, who's a pretty popular writer at Lakeshore, adapting Fame and penning Untraceable for them.

Hopefully, a Cinematical reader or two can chime in on the book. From its reviews, the source material sounds pretty enticing. Here's hoping this can not only be a comeback for Levinson, but a noir rival for L.A. Confidential.

Well, since it seems that the very few out there who still respect what I have to say about movies, and horror movies in particular, either didn't read or didn't mind my mild admission that I only like Stanley Kubrick's The Shining, I feel a little bolder about bringing another piece of quasi-blasphemy to light: at this time last year, I hadn't seen Dario Argento's treasured Suspiria, and when I eventually did, I was distinctly underwhelmed. Perhaps it was too dated, perhaps I was too jaded, but I was relegated to sitting back and just plain 'respecting' another classic of the genre.

That makes me no more oblivious to the fact that it's sacred enough that a remake announcement is cause for cringing. Making matters a little less cringe-inducing, though (in my opinion), is Bloody Disgusting's confirmation that Natalie Portman is to star in the 2010 incarnation. She's smart, she's sexy... in short, this Oscar nominee could wander curiously around the halls of my eerie ballet academy any day.

However, I still find the reports that David Gordon Green is attached to direct a little hard to swallow; I'm still coping with the fact that he directed the very funny and relatively mainstream Pineapple Express. Maybe a why-not stance would be most fitting at the moment.

Suspiria remake? Portman starring? What do you think?

What is the appropriate reaction to have when a movie you love, adore, and cherish is somehow ... improved? I know, it's a strange feeling. I happen to think my all-time favorite film (A L I E N) is much better in its theatrical version than in its extended -- but where Aliens is concerned, I much prefer the longer version! It's something you have to approach on a case-by-case basis, of course, and it's the sort of movie-nerd activity that should be attempted only by those with a lot of free time -- or someone who gets paid to write about this sort of stuff. (Fortunately I am both.)

So it was with MUCH enthusiasm that I sat down with the brand-new Director's Cut of Dark City, a film that I absolutely love a whole lot -- and I know I'm not nearly alone when I say that. Like many of the finest sci-fi films, Dark City was pretty much overlooked for a good long while -- put once it hit DVD and heavy rotation on the cable channels, the sci-fi freaks found a film worth watching and re-watching, to say nothing of analyzing, deconstructing, and debating. And so I happily continue that trend by explaining what the fans will find in New Line's very impressive new Dark City package...

If you're going to return to the big screen after a long break and a big scandal, it probably helps to have the biggest co-star you can grab. It looks like Mel Gibson has done exactly that with his upcoming Edge of Darkness, because according to Variety, Robert De Niro is in talks to join the cast.

Edge is a big-screen remake of the 1985 BBC miniseries, and it centers on Thomas Craven, a Boston detective, whose 24-year-old daughter is murdered on the front steps of their home. Assuming he was the target, Craven begins investigating the murder, only to discover a startling conspiracy that reaches into high levels of government. Robert De Niro will play an operative sent to clean up the evidence, which probably means he'll engage in fisticuffs with Gibson at some point. The movie is set to begin filming this month in Massachusetts, and has a SAG waiver to continue if a strike occurs.

As I've stated before, I'm really looking forward to seeing Gibson acting again, and I love the idea of him pairing up with De Niro. It's a casting combination that I'm surprised hasn't happened before. I just hope the film, and its performances, can be judged on its own merit and not condemned because of Gibson's past behavior. And with that, I ask you to try and remain civil in the comments!

At last, there's a delightful cast addition to The Picture of Dorian Gray. In all the excitement of summer, this film undoubtedly dropped off your radar. But back in May, Ben Barnes (otherwise known as Prince Caspian) was cast as the eternally beautiful lead. (I know some of you haven't forgotten, I get comments praising Barnes about once a week. He's got quite a following!)

Now, the god of lushly wet shirts (otherwise known as Colin Firth ) has joined the cast. According to The Hollywood Reporter, he'll be playing the witty Lord Henry Wotton, the aristocrat who corrupts young Gray with his hedonistic pursuits and outlook. And yes, there's a good dash of homoeroticism inherent in their relationship as well. It has the potential to be deliciously dark and twisted onscreen.

Firth is, obviously, no stranger to costume pieces or Oscar Wilde. He co-starred in the delightful The Importance of Being Earnest, which was also directed by Wilde aficionado Oliver Parker. As they're selling this as a "visceral, dark horror story," I'm really excited to see Firth in it. He seems to be the go-to guy for American romantic comedies lately, and it will be fun to see him be villainous again. Filming begins this week, and I bet there will be photos of both men in cravats and poet shirts in London's Metro paper by the end of August.

Out of all the specialty releases that have appeared in theaters -- including American indies, docs, and world cinema -- why is one standing out this summer as a "word-of-mouth" hit? That's how Steven Zeitchik in The Hollywood Reporter descibes Guillaume Canet's terrific French thriller Tell No One, which has grossed nearly $1.7 million since opening in New York and Los Angeles at the beginning of July.

Zeitchik provides background on distributor Music Box Films and its founder William Schopf and then says that strong reviews in the New York Times, Los Angeles Times, and The New Yorker "certainly helped, particularly with the film's older demo." (Hmm, did someone take a poll?) He also speculates that press days for director Canet, its mystery/thriller genre, and timing -- an indie slipping between the cracks of the big summer movies -- may have been factors.

Tell No One opened the same July 4th holiday weekend as Hancock, and the mixed reviews for the Will Smith picture may indeed have pushed some folks to try the French flick. But The Wackness also opened that weekend, and despite some very good reviews and a smashing opening weekend, its per-screen average has declined as it has expanded across the country. More than one million dollars at the box office is a decent return for a rather desultory stoner period comedy-drama, in my opinion, though it's far less than others thought it could achieve. Still, why did Tell No One -- with, evidently, a substantially smaller marketing budget -- catch on and not The Wackness?

In a development noted on several horror sites, not the least of which are Shock and BD.com, it appears that Lionsgate is indeed opening the oft-shuffled adaptation of Clive Barker's The Midnight Meat Train on roughly 100 screens this Friday. However, all currently-posted showtimes are at second-run theaters -- otherwise known as dollar theaters, although it never seems to be that cheap anymore, not even on Tuesdays.

In my neck of the woods, one theater has it booked for two evening shows a day, for an engagement that I'm willing to bet will last only one week. The last time I remember a first-run film being shown at this theater, it was the Weinsteins' Feast, although that usually neglectful studio did so as part of a clear strategy to boost general awareness of that movie before its DVD release a month later (and wouldn't you know it, that wasn't a bad flick at all).

Despite all the fuss between Barker and the studio and the frequent release date changes, Scott saw it at Comic-Con and really dug it, and he doesn't seem to be alone among the genre gurus, which leads one to wonder just why Lionsgate would go to such curious lengths to so poorly fulfill a contractual obligation when it seems that fans might, y'know, actually turn out and pay full price to get the grisly goods. (On the flip side, at least it'll hit more cities than Pathology or Rogue did when they were similarly dumped.)

What do you guys think? Are you still interested in catching the film, and if so, do you find yourself inconvenienced by this odd distribution tactic?

I'm not sure how long this will remain up, so I'd clear out the room, grab some popcorn, poor a glass of blood -- or whatever the hell is it that you do to prepare for awesomeness -- and check out the video above right away. What you'll see is the much buzzed-about footage from The Wolfman that screened at Comic Con last week (read our panel coverage here). I was at this panel and absolutely loved what I saw of this flick; it looks creepy, chilly and Gothic. And when your cast spits out names like Benicio del Toro, Anthony Hopkins, Emily Blunt and Hugo Weaving (not to mention special makeup effects from a dude by the name of Rick Baker), then you know something special is in the works. Check out the gallery below for more kickass Wolfness.

The Wolfman is currently set to attack theaters on April 3, 2009.

It's now the United Kingdom's turn to get a dose of Watchmen goodness. Empire has just premiered two different covers with new shots of our costumed adventurers. They also have three exclusive new character stills: Rorschach, the Comedian, and Nite Owl. Click on the image above (or right here) to be taken directly to the new photos, and come back to chat with me. They're definitely worth a look. The Rorschach image is close enough that you can see the fuzz on the mask. If only it was animated so you could see the ink blots shift. (I wonder if his mask will be the subject of the next video journal? I hope so.)

If there was a contest as to who is getting the best photographs, the Comedian is winning by a mile. Although thanks to the good looks of Jeffery Dean Morgan, I'm becoming disturbingly attracted to the character. That's not supposed to happen! Or is it? Oh, Watchmen, you're just full of ambiguity.

If I have one criticism of all the peeks thus far, it's that I'm really bored with seeing Nite Owl posing in front of the Owlship. I really want you guys to see the brow-beaten Dan Dreiberg that we saw in San Diego. My copy of the book was finally returned to me, and as I flipped through it, I was impressed all over again with how much Patrick Wilson resembled the panels. I hope some of these quiet moments leak onto the web, soon, and win over a few more fans.

Watchmen comes to theaters March 6, 2009.

I'm not exactly sure how a scheduled block of round-table interviews turned into a half-organized two-headed press conference, but that's pretty much how it went down in this particular convention hall room. (Sounds like I'm complaining, but I'm just trying to give you a taste of the chaos that goes on here: Nothing's on time, nobody seems to have the right answers, and a lot of time is simply spent ... waiting. (It's fun AND frustrating!)

But to be fair, it's not every day you sit in a room populated by Mark Wahlberg, Keanu Reeves, Jennifer Connelly, and Mila Kunis (among others) -- but there we were! (We, um, weren't allowed to take photos -- at a press conference. Don't ask me.) After much waiting and friendly nerd-banter among patient movie folks, the cast and director of Max Payne walked in to share their thoughts on their upcoming videogame adaptation.

Mr. Wahlberg was quick to note that, while he wasn't much of a game player, he was very excited about playing a kick-ass action hero. Interviewers wanted to know why the actor chose a popcorn movie after The Departed, and one even poked a little fun: "So you won't be running away from the wind in this one?" (A cute quip, but a little classless.) When the questioners focused on director John Moore, he was his typically enthusiastic self, promising fans a gritty good time that delivers the mayhem. And just as the adorable Mila Kunis was about to explain how her character is actually a kick-ass assassin-type...

The X-Files: I Want to Believe offers the viewer many mysteries to contemplate -- and only one of them is on-screen; as David Duchovny and Gillian Anderson return to roles and a franchise that last graced our TV screens in 2002 (and was last on the big screen in 1998), your mind swirls around the behind-the-scenes facts as fiercely as it does around the events playing out before your eyes. As reclusive, retired ex-FBI agents Fox Mulder and Dana Scully (Duchovny and Anderson) help the FBI with an abduction case, you're not following the plot as such; instead, you're thinking things like Hey, didn't this show get canceled six years ago? Haven't Duchovny and Chris Carter, the star and director of this film, both sued the studio behind it? Who, out in the movie going audience, is really clamoring for this movie? If you're an X-Files fan, is this film's freestanding creepy tale, with no link to the weird and convoluted mythos Carter came up with for the show, going to satisfy whatever itch you may still have for the franchise? And if you're not an X-Files fan, is the idea that this film stands alone enough reason to come to the franchise now?

OK, so I missed my flight to San Diego this morning and I've had a really rotten day, but there's always a small silver lining, right? In the movie world there is: JUST announced (like, within the last few minutes!) is the Toronto Film Festival's Midnight Madness '08 line-up. And, as usual, it looks pretty damn awesome.

I've heard some really good things about Pascal Laugier's Martyrs, Franck Vestiel's Eden Log, and Jon Hewitt's Acolytes -- plus I've been itchin' to see JT Petty's horror-western The Burrowers for over a year now! Other selections include Pracha Pinkaew's Chocolate, Toshio Lee's Detroit Metal City, and Mark Hartley's Not Quite Hollywood. Click right here for all ten of TIFF's Midnight picks --and of course you can expect all sorts of expansive festival coverage once TIFF rolls out in early September. Woo!

(Note: Rocchi got all excited about JCVD being chosen as one of the Midnight selections, which is a title I neglected to mention the first time around. Ditto Sexykiller and Deadgirl.)

( Also announced today: Toronto's Wavelengths and Sprockets Family Zone selections. )

This summer has been a big one for the fanboy (and girl) nation. Geeks have rejoiced as their favorite icons have come to grace the silver screen either once again or for the first time -- Tony Stark, Indiana Jones, Bruce Wayne, Bruce Banner, Kit Kittredge -- with each film accompanied by its own modest fan frenzy (yes, a $155 million opening weekend equals modest 'round these parts).

But naturally, as if so often the case with the potent combo of radical fanaticism and internet anonymity, the nastier trolls have not seen fit to shirk their responsibility of maintaining the sacred Tomatometer with a crudely constructed death threat or two (or two hundred). For them, this is personal. They can't possibly enjoy their long-awaited flick should some goateed snob decide to feel any degree of lukewarm or otherwise before the public gets their peek.

This is blood for blood, and by the comment. These are the new days, the bad days, the all-or-nothing days. They're back.