Lionsgate Films »

Lionsgate has now officially released the full-length trailer for The Spirit that Film School Rejects leaked last night. It's over on Yahoo! Movies in high definition, so even if you managed to catch the leaked version, it's worth checking out.

I have to say, this looks nothing like I thought it would. I wish I could say that was a good thing but ... wow. I am not feeling this at all. It's not the classic noir of Will Eisner's comics, it's not really a Sin City rip-off, it's just strange and creepy. The shots of the floating heads and the Spirit falling out of the woman's mouth remind me way too much of those eerie French safe sex ads.

I also have to complain about the emphasis placed on the femme fatales. I shrugged off the poster and the website; I accepted the excuse that to lure in the boys, you have to use the sexy girls. I also realize that just about all the actresses in the movie are bigger names than Gabriel Macht, who's the man behind the mask. But this is a full length trailer, and the Spirit himself is still persona non grata. When are we finally going to meet him?

I dig you Frank Miller, I really do, but I don't know if I can go down this road with you. I am hoping that this is just a really bad trailer, and the film is actually a nice visit to the land of neo-noir.

The Spirit opens December 25th, 2008.

Frank Miller's The Spirit just took a turn for the bizarre. The full trailer is up at Film School Rejects, at least for now (the teaser is here, permanently), and it makes the movie look downright avant-garde. The accompanying Rejects blog post calls the look and feel of the film "forced," and I have to agree, even as I recognize that it's not fair to make such a judgment from a promotional clip. But then the post also badmouths Sky Captain and the World of Tomorrow, at which point it lost me.

Anyhow, my fear is that The Spirit will prize style to the exclusion of a story that can be taken seriously -- something both Sin City and Sky Captain avoided doing. There really aren't any words for the costumes Samuel L. Jackson wears in the second half of the trailer, and I can't imagine I'll be able to watch him in the movie without giggling. On the other hand, misguided complaints about 300 not withstanding, I can't imagine Frank Miller ever generating anything to be giggled at.

Can anyone who's familiar with the source material -- a comic book not by Frank Miller, but by Will Eisner -- shed any light on what's going on in that trailer?

In my recent celebratory rant about the new Latin American cinema classics, I failed to mention any films from Chile. This was not my intention, but admittedly I am not familiar with that country's film production, as most Americans are not. The most well-known contemporary Chilean filmmaker is probably Raoul Ruiz (or Raúl Ruiz), who is likely more associated with French cinema and is considered even more generally to be an international filmmaker. Like Ruiz, a lot of Chile's filmmakers left their country 35 years ago when Pinochet came to power. Fortunately, since Chile became a democracy again in 1990, film production there has been on the rise and will fortunately one day be as big as neighboring Argentina's film industry.

Chilean cinema could have a boost thanks to Lionsgate, which has just picked up Rodrigo Ortuzar's All Inclusive for U.S. distribution. The film, about a family trapped at a resort when a Hurricane hits its Yucatan location and co-starring Street Kings' Martha Higareda (pictured), is set in and was co-produced by Mexico, which is fine considering the association allows the film to be lumped with recent partially Mexican films like Under the Same Moon and the Spanish-language work of Guillermo Del Toro. Lionsgate also handled distribution for last year's U.S.-produced Spanish-language film Bandoleros, Lionsgate has yet to announce a release date for All Inclusive.

If you read any part of that draft of W., Oliver Stone's Bush biopic, which hit the net a few months back, you might think it ludicrous for the film to be likened to Shakespeare. But Stone himself has done so, as part of an L.A. Times set visit interview. Lumped in with a quote in which Stone also contrasts the project to the work of Michael Moore, the Oscar-winning director's statement is in response to the film's level of seriousness: "W. isn't an overly serious movie, but it is a serious subject. It's a Shakespearean story. . . . I see it as the strange unfolding of American democracy as I have lived it."

The Times piece, which reports from Shreveport, Louisiana, where Independence Bowl stadium fills in for the Texas Rangers' Arlington Stadium, is very filling for anyone with an appetite for more W. updates. Included are a description of and dialogue from a scene between George W. Bush (Josh Brolin) and George H.W. Bush (James Cromwell), details on a "baseball-oriented fantasy" sequence, Brolin stating that he's not out to do a SNL-style caricature and admitting his initial hesitance to take on the role, a general overview of the project's coming together, and, best of all, a picture (seen, cropped, above) of Brolin as the future Commander in Chief looking like he's just had the crap beaten out of him. Also a fact I'd somehow never known prior to reading the article: Stone was "briefly a Yale classmate of Bush."

You know, sometimes you just want to get your hands on a studio executive and shake them until they see sense. Straight from the 'why bother?' files, Bloody Disgusting has received a tip that Hostel producer Scott Spiegel has been tapped to direct the third installment of the horror series. Not only would Spiegel be behind the camera for the flick, but he would also be in charge of writing the script. Even though I might not be the biggest fan of Eli Roth or Hostel, I do know one thing: if you aren't going to do something right, don't do it at all.

After the release of Hostel II, it became clear that Roth had no plans on torturing tourists again in the near future, and fans of the series were given the bad news that a third film could be a straight-to-DVD affair. At least fans can take solace in the fact that Spiegel produced the first two films, and has solid horror cred, so at least he knows his way around some blood-spatter. Spiegel's deal has not been confirmed yet, so stay tuned to Cinematical for any updates that come our way.

What do you think? Should Hostel continue without Roth? Or, is the series better off as the sole property of Roth's sick imagination?

As someone who's only grown decreasingly fond of the Saw franchise (at least since the second one) and still marvels at the fact that we as a world find ourselves facing the prospect of a fifth (and possibly sixth!) one this coming Halloween and the next, I must attest to being weirdly admirable of how creatively macabre the series' marketing campaigns have been.

Case in point: the first revealed poster for Saw V, included in full after the jump and courtesy of IMP Awards. Following up the magically MPAA-approved acts of amputated limbs, dislodged teeth, and bent fingernails is the face of actor Tobin Bell acting as a mask on another body entirely, in spirit with the films' perpetual acknowledgement that Bell's character, John Kramer/Jigsaw, kinda died at the end of Saw III and sorta went through an autopsy at the beginning of Saw IV.

As Bell remains flaunted and credited in equal measure - as does the similarly deceased Shawnee Smith - I think it's safe to expect A) more flashbacks, a la #4, and B) more exceedingly gruesome demises, a la #1-4. However, at a combined worldwide gross of $553 million to date, it's also safe to say that there are many who'd hope -- who'd pay -- for nothing less.

Two new posters from Punisher: War Zone have surfaced, photographed by Getty at a party thrown for Ray Stevenson. As they are watermarked, you'll have to click on the snipped version to your right to see them. But hey, you also get to see the photos of the party and feel as though you were there.

I like these so much more than last month's teaser poster. I get the love for the Punisher's skull emblem, but he is the kind of character that you just need to put in people's faces. Unless you are Superman or Batman, the emblem is nothing unless it is displayed proudly on your muscular, heroic chest.

First there was Date Movie, and it was ... not good. And then came Epic Movie, and it was ... even worse. Most recently we received Meet the Spartans, and it was ... you get the point: By now we're well aware that sophomoric spoof-merchants Jason Friedberg and Aaron Seltzer are not even remotely interested in making a good film. Their goal is simply to throw as many current* pop culture references onto the screen so that bored 14-year-olds with more allowance money than common sense will line up to chuckle (feebly) at the duo's desperate antics. (* And if the jokes are this bad when they're "current," what the hell will these flicks look like in ten years?)

But you know what? It's almost creepy how well these things do: For a production budget of about $20 million apiece, Date, Epic, and Spartans made about $84 million each. (That's worldwide box-office, and thanks to Mojo for the numerals.) So Fox essentially gave these guys $60 million and three shots, and they virtually quadrupled their budget each time out. (So why does the IMDb rate these films at 2.6, 2.3, and 2.4, respectively? I have no idea. How many times must a person get smacked on the skull before they start avoiding the hammer?)

Anwyay, Friedberg and Seltzer have moved their parody tent over to Lionsgate, and that's who'll be unleashing the aptly-titled Disaster Movie on August 29. (And people call Saw torture. Ha!) Click right here to enjoy the trailer, and by "enjoy" I actually mean "sit there and subject yourself to amazingly half-assed jokes about clumsy superheroes, pregnant teenagers, and tons of other horrific stuff that I can't believe passes for comedy." And yet I bet it will make about $84 million worldwide and we'll all be sitting here next year, bemoaning the impending arrival of Friedberg & Seltzer's Action Movie.