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Anna Paquin stars in this horror offering from director Jaume Balagueró. This film marks his English-language directorial debut. He is also the co-writer, along with Fernando de Felipe.

The movie is about a teenage girl (Paquin) who moves to a new house with her family and discovers some horrifying events happened in her new home. These actions from more than 40 years ago are now threatening to destroy her family. Her father (Iain Glen) and mother (Lena Olin) are acting peculiar. And the dark forces in the house are using her brother. They need him to complete their plans and reawaken the horrors. Can the girl figure out what is going on and save her family in time? Or is she too late? (Marty Doskins/BOP)

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Robert Rodriguez is the most fascinating man in Hollywood. Never to be described as conventional, the master of the low budget, high profit project has made a career out of unusual decisions and taking bold risks. With the production of Sin City, Rodriguez has truly outdone himself, though.

Comic book aficionados will recognize this name as a graphic novel by Frank Miller, the artist also responsible for one of the most famous works in the industry, The Dark Knight Returns. The first of a series, Sin City tells the story of Marv, a tough goon fresh off the bus. Since he's new to Sin City and therefore friendless, the big guy would seem to be facing a lonely adjustment period. Much to his surprise, he encounters the girl of his dreams on the first day in town. Goldie has everything going for her and, strangely, she seems to like Marv, something he hadn't expected. Before the dumb lug can get his hopes up, though, his heart is broken. Goldie is killed, leaving her new beau broken-hearted and out for revenge. The graphic novel proceeds to chronicle the events that lead Marv to his ultimate showdown with the villain responsible for Goldie's death.

The above sounds quite cliche, but that's largely because it's impossible to do justice to the visual and visceral creations Miller unveils using only text descriptions. You have to behold them for yourself to understand. No one recognizes this more than Robert Rodriguez, which is why he willingly walked out of Director's Guild of America in order to film this movie the right way. He is going to let Frank Miller co-direct. Since that's a huge no-no for the DGA, Rodriguez chose his art over his union, a bold decision which again demonstrates how strong-willed and motivated the director is.

In order to best represent the world of Sin City on film, the first three novels will be blended together as a single production. Much of the camera work will attempt to recreate the visually stimulating art in a manner similar to what M. Night Shyamalan attempted with Unbreakable. This is why it was imperative to Rodriguez to allow Miller an opportunity to have input in the creative process. In point of fact, the director wasn't even contracted to work on Sin City when he shot the movie's first scene.

Since the work in Sin City is so personal to Frank Miller, he had been unwilling to sign off on a Hollywood production for fear of it being screwed up. Robert Rodriguez took the unprecedented step of asking a couple of friends, Josh Hartnett and Marley Shelton, to film the first scene of the movie. The fact that there was NO movie at the time was irrelevant to him. Rodriguez innately recognized that the only way to get Miller to come onboard was to show the artist how much he understood the comic book's underlying themes. The bold maneuver paid off in spades as Miller was so impressed with not just what Rodriguez had filmed but also the caretaking steps required to set the production in motion that he quickly signed on. It helped that Miller, a man looking to get into the movie business at least somewhat himself, was assured healthy participation in the movie's creation and direction.

The other brave, possibly insane decision Rodriguez has made with Sin City is to shoot immediately. Since he already had the first sequence filmed and the story segments are largely non-linear, he hadn't bothered with casting. As recently as the weekend before the shoot began, the only three cast members hired were Shelton and Hartnett, who had already completed the opening sequence, and Mickey Rourke, the storyline anchor of the shoot the following Monday. When is the last time that you can recall a shoot starting without any actors onboard? Of course, the bonus of being such an extraordinarily gifted director is that Rodriguez knew that he could always call upon any number of friends in order to pull the shoot together. Names rumored to make possible appearances in the movie include Bruce Willis, Leonardo DiCaprio, Michael Douglas, Brittany Murphy and Johnny Depp.

Sin City is expected to be the most literal possible adaptation of the trilogy of graphic novels. Shot entirely at Rodriguez's personal soundstages in Austin, Texas, the production has moved from greenlight to principal photography as quickly as any movie in recent memory. This is one of the most exciting projects on the calendar at the moment, and BOP can't wait to see how it all turns out. (David Mumpower/BOP)

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After the recent success of British gangster films like Lock, Stock, and Two Smoking Barrels and Snatch, independent film distributor IFC Films has decided to release this feature.

Malcolm McDowell stars as Gangster 55, an ambitious gangster who's planning the downfall of his boss and taking his place at the top. After succeeding, we follow Gangster 55 through the next 30 years of Gangster 55's life, while his boss is in prison for murder. We see how powerful he becomes and how much he achieved as the new boss.

To give you an idea of what Gangster 55 is like, here are Malcolm McDowell's own words. "He is a monstrous person. His feelings towards Freddie Mays are obsession, envy, love, hate - all these and more. He is psychotic but I wouldn't know how to play psychotic. He's fascinating to me and I've relished playing him. I've never met anyone remotely like Gangster 55 and I never want to." Should be an interesting film.

This film was released in the UK in June of 2000 and has already been released on video and DVD there. We'll finally get to see this movie in the first quarter of 2002. (Marty Doskins/BOP)

February 28, 2002
It's starting to look as if this film will never get its U.S. release. It was recently scheduled for February of 2002 before moving to April and now settling into May 31st. (Kim Hollis/BOP)

March 28, 2002
Here we go again. Gangster No. 1 has again been pushed and is now scheduled for June. (Kim Hollis/BOP)

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Not A Love Story

Fahrenheit 9/11 is the most financially successful documentary of all-time. And no, I will not get into an argument of semantics with you about whether or not it's a documentary. Such discussions almost universally divide among political party lines, and that's not germane to the conversation at hand. FH911 is going to be remembered as a documentary and that truncates further discussion about the topic. What matters for our purposes is that the movie made $119.2 million against production costs of $6 million. Even the finest Hollywood studio bean counters would have a hard time hiding profits like that. Like the project or not (and it's fair to say that there is a bit of an *ahem* schism on the subject), it made a factor of 20 more than it cost to create. So, Michael Moore gets to keep making movies, even if none of them are likely ever to reach the lofty heights of that powerful film.

Capitalism: A Love Story will not be quite as incendiary as FH911 - though it could have been. Where Fahrenheit 9/11 was a perfect storm of timing, topicality and outrage, Capitalism feels as if it might have had a mightier impact had it been released during the height of the bank collapse. Perhaps it would have been more appropriate to put Sicko in front of audiences on Capitalism's planned release date. Moore certainly knows the topics that will be important, but his timing does feel off here.

Either way, you can be certain that Capitalism: A Love Story will have loud detractors and supporters. He'll carry a bullhorn around and yell at people. And no one is going to come out unscathed. Reviews of the film note that it does an excellent job of explaining the financial crisis in an accessible way, which is something big in its favor. Chances are, nonetheless, that it's going to perform closer to Sicko than to Fahrenheit 9/11. (David Mumpower/BOP)

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free download links for One Two Three

The upcoming film The Taking of Pelham One, Two, Three does not have the most revealing of titles on the surface. But beneath the surface, we find that this is about a New York subway train that gets hijacked and along with its multitude of passengers held for ransom (can I get a “Gimme back my son!”). Once the authorities find out about the jacking, they predictably swoop in to try and stop them. It's based on the 1973 book of the same name by the now deceased novelist Morton Freedgood aka John Godey (his pen name). This one is another sterling example of Hollywood going the remake route, dipping their creative little fingers thrice into the same pot. Pelham was made into a feature film in 1974 and a TV movie back in 1998. The original film was loved by fans (7.7 rating IMDb) but the TV version (4.9 rating) was met with more of a yawning indifference.

Pelham stars two-time Oscar winner Denzel Washington, who is generally regarded as one of the finest actors of his generation. Breitling Watch pitchman John Travolta co-pilots, playing a sinister baddie named Ryder, the leader of the hijackers. This time around, it's directed by reliable action auteur Tony Scott (True Romance). If his name sounds familiar but you can't quite place it, he is the younger brother of more well-known director sibling, Ridley Scott (Gladiator). Tony Scott's films are most often known for their leads, as is the case with noted couch jumper Tom Cruise in 1986's Top Gun or a post Gumby-era Eddie Murphy way back when, in Beverly Hills Cop II.

This film marks Scott's fourth time working with Washington, having previously directed him in 1995's Crimson Tide ($91 million) along with Gene Hackman and with Denzel as a sole lead in 2004's Man on Fire ($78 million) and 2006's Déjà Vu (a more disappointing $64 million vs. an $80 million budget). All told, they have a proven track record working together. The fan-friendly Washington is a bankable draw at ticket booths, but the vehicle is always important for the Training Day star. His pairing with Travolta, who added some spritz to 2007's Hairspray, could be critical. With Denzel on the silver screen, for every American Gangster ($130 million domestic) there is a Great Debaters ($30 million). It's worth noting that both films made money for their respective studios via different channels. While Gangster was a hit and touted as a potentially new classic (the African-American Scarface) in a lot of ways, Debaters was a smaller film that (unsuccessfully) tried to lure the Academy voters during Oscar season.

Travolta, on the other hand, had his film career on life support at one point, before it was essentially resuscitated by Quentin Tarantino when he cast him in the modern day classic Pulp Fiction in 1994. We are still seeking a performance from Travolta to rival his excellent Vincent Vega and with each passing film we fear that the Scientologist may never give us another effort quite as good. We've seen Travolta in these bad guy roles before. He headlined 2001's Swordfish, which had the added benefit of Halle Berry showing her rack, but it still lost money domestically. Like in 1996's actioner Broken Arrow, the fear is that Travolta will give another over the top acting job. In that film, JT delivers many lines in a manner that would make Keanu Reeves proud.

Overall, cinephiles can be on the lookout for a lot here. Will Scott include his trademark pan across a large tower? Will Denzel have to carry this film or can Travolta step up and deliver the nuanced performance we want to see from him? Will the third time be the charm for this film adaptation, therefore making it a modern day hit? (Brandon Scott/BOP)

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In 2006, the city of New Orleans was devastated by Hurricane Katrina and its after effects. Tens of thousands of people were forced out of their homes, the economy was crushed, and dead bodies littered the streets and waterways. For citizens of the city, life was as bad as it could possibly be. Hope often takes strange forms in our time of need.

The students at Ehret High School, the Patriots, they are proof positive that hope floats. When high school started back again that year, there were not enough students to form a basketball team. At least there would not have been if the core of the team had been solely comprised of people who had previously attended Ehret. Since many schools were destroyed in the hurricane, Ehret became a hub for otherwise displaced students in the area. A group of ten basketball players formerly from five different schools were cobbled together as a “team”. Their struggles to learn to work together might sound cliché on paper, but they were quite real at the time.

The Ehret High School players are the inspiration for Patriots, a theatrical adaptation of their story. Given the odd nature of how the players were thrown together, it is perhaps unsurprising that they started their season 15-10 and were on the verge of missing the playoffs. Once the players stopped bickering (Coach Al Collins' evaluation of their problem) and learned to trust one another, the magic happened. His team went on to win 12 of their final 13 games, ending their run with a state championship title over Woodlawn of Baton Rouge. In the Internet era, word of their feat quickly spread as it became a symbolic example of the city of New Orleans' attempt to rebuild and move on after a historically unprecedented catastrophe. ESPN went so far as to award the team a special ESPY in 2006. The team was lauded for “overcoming great obstacles to achieve sports excellence”.

Given the immediate popularity and uplifting nature of the story, a decision to make a movie about it happened almost instantly. Academy Award winner Forest Whitaker signed to portray Collins with Tim Story directing. Story had tremendous success with Barbershop, then made money while absorbing a critical beating with the Fantastic Four films. He also directed Taxi. Yes, there is cause for concern here, but we should keep in mind that Barbershop was really, really good. Maybe he can get back his mojo with this release. The rest of the cast includes the famously fired-from-Grey's-Anatomy Isaiah Washington, no longer “Lil'” Bow Wow, still “Lil'” Wayne, and Taraji P. Henson. Robert Eisele, the man responsible for last year's The Great Debaters, wrote the screenplay and Variety reports that The Weinstein Company intends to follow a similar marketing strategy to how that film was advertised. Gregory Allen Howard, who wrote the thematically similar Remember the Titans, also had a hand with the writing. The Great Debaters earned $30.2 million while Remember the Titans accrued $115.6 million, so there is a pretty wide range here in terms of what this title may do financially. (David Mumpower/BOP)

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In 1963, a superhero team of misfits was created. Following the lead of their wheelchair-bound strategist, this group of social outcasts fought for the betterment of the world around them. And they did so despite the fact that the same people they assisted viewed them as a rogue's gallery of misfits. Perhaps most shockingly of all, this group did not operate under the Marvel license. No, they were not X-Men. This DC Comics cast of characters pre-dates Professor Xavier's crew by several months. They are called Doom Patrol, and Hollywood is preparing to give this 40-year-old group theatrical life for the first time.

The idea of copycatting is perhaps the main precept of the comic book industry. If DC has a tortured Batman, then Marvel needs a tortured Wolverine. If Marvel has a nefarious immortal villain named Apocalypse, then DC has one named Ra's al Ghul. This is the nature of the industry, and it is a commonly accepted practice. The case of Doom Patrol versus X-Men is simply the most dramatic example that being first isn't always best.

The members of Doom Patrol were written to be the ultimate outcasts. Their members included a paraplegic genius, the brain of a star athlete trapped in the body of a robot, a woman who could shrink down to an inch or grow to be 100 feet tall, and a man composed entirely of negative energy wrapped in bandages. 1960s audiences were non-plussed by this motley crew, so much so that DC Comics did the unthinkable. The entire team was destroyed while trying to save a small town in Maine.

Over the years, the popularity of the X-Men has soared while Doom Patrol has become the Halley's Comet of comic books. After its initial cancellation in 1968, the series returned briefly in 1977 (true story: I still have the issue in my garage...and I am not a comic book collector), 2001, and 2004. During the '80s, the comic had frequent re-boots instead of cancellations. At these points, main characters would be introduced and sent along their way.

There was even a brief period of (I kid you not) Dadist surrealism. As you might imagine, a superhero group with a Peace, Love and Dope message would probably not translate well as a comic book movie. This risky, previously unattempted style of daring storytelling created a small but zealous fan-base of diehard Doom Patrol fans.

The current resurgence in popularity of Doom Patrol owes a lot to the success of its most recognized member, Beast Boy. As a kid, Garfield Logan was an original member of the group. They were like a family to him prior to his hooking up with a slightly more established group of heroes: the Teen Titans. When the animated tales of their adventured reached the final season, the producers of Teen Titans dug deep to find villains worthy of the powerful kids. Their choice was the Brotherhood of Evil, not coincidentally the main foes of Doom Patrol. There was even a story arc where the original members of the group met the now-pubescent Beast Boy, discovering he was much more mature.

Presumably, the Brotherhood of Evil will also be the bad guys in a Doom Patrol movie. Which members are included on the side of the angels is up for speculation. The most recent published version of Doom Patrol includes the original core of Beast Boy, Chief, Elasti-Girl, Mento, Negative Man, and Robotman. Two new characters, Bumblebee and Vox, have also been added in the comic's current run.

Since there have been over 30 members during the on again/off again run of the show, however, almost any of them is a possibility. In addition, DC Comics might decide to save Beast Boy potential Teen Titans movie. That's a tricky decision since he has the most name recognition out of the potential Doom Patrol members, but Teen Titans would be the production with more box office franchise potential.

While X-Men has shattered box office records with three opening weekends averaging around $80 million, Doom Patrol has stood on the outside looking in. No sane person feels this fledling franchise has that sort of box office potential, but the Hollywood studio system is starting to take more chances on lesser-known properties. Warner Bros. Has hired unheralded scribe Adam Turner to write the screenplay. Before you get upset, remember that it could be worse. Akiva Goldsman is producing. If he gets a whiff of the script, Robotman will wind up with nipples on his body armor. (David Mumpower/BOP)

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