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  • The Playlist
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    'Takers' Director Patrick Luessenhop Looking To Chainsaw 'Leatherface 3D'

    In 2011, franchises don't die, they reboot, which is why it shouldn't be a surprise that we have word on movement regarding another entry in the "Texas Chainsaw Massacre" series. In 2009, the rights moved from one shithouse (Platinum Dunes) to another (Twisted Pictures, home to "Saw") and now it appears that a major brand relaunch is afoot. The good folks at Bloody-Disgusting inform us that John Luessenhop is in talks to direct "Leatherface 3D," which sounds less like a major sequel and more like some sort of tacky stage show.

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  • The Playlist
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    Fox Searchlight Pick Up Sundance Breakout 'Sound of My Voice'

    Few rises in recent years have been as meteoric as that of Brit Marling. At the beginning of 2011, she was all but unknown, but by the end of January, she'd emerged as one of the most exciting new talents in independent film, having starred in, co-written and co-produced a pair of sci-fi tinged dramas that also happened to be two of the most widely acclaimed films at Sundance this year, "Another Earth" and "Sound of My Voice."

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  • Shadow and Act
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    Teaser Poster For Halle Berry's "Dark Tide" Surfaces

    I think most of us probably forgot all about this upcoming movie, starring Halle Berry and her current main squeeze, Olivier Martinez, which was shot in South Africa last fall.

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  • Caryn James
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    The Bang Bang Club: Harrowing Drama About Photojournalists, Timelier Than Ever

    With powerful immediacy, and an eerie resonance with today’s headlines, The Bang Bang Club takes us into the dangerous world of combat photography. Set in South Africa in 1994, the drama is based on the real lives of four men who photographed the violence just before that country’s first non-apartheid election.

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  • Shadow and Act
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    Tyler Perry Is Losing Weight & Putting On Muscle To Meet "Young & Sexy" Alex Cross Expectations

    Courtesy of Hitflix... in the below video, everyone's favorite director, Tyler Perry, talks about his upcoming tackling of the Alex Cross franchise reboot - specifically, he answers questions about production dates, and talks about all he's doing to prepare for the part, like, dropping more than 30 pounds in weight, while adding about 10 pounds of muscle mass.

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    More: casting
  • The Playlist
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    Jake Johnson Latest To Join Cast Of '21 Jump Street'

    Considering it's the kind of project that we'd normally run a mile from (namely, a big-budget remake of a 1980s TV show that no one really gives a shit about), we're curiously optimistic about "21 Jump Street." Like the show, which launched the career of Johnny Depp, the movie will focus on a group of fresh-faced cops who go undercover in a high school, but the new version is an R-rated action-comedy take on the material, described as "Bad Boys" meets "John Hughes."

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  • Caryn James
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    "One Day" and Other Stunt Novels

    How do you sell a novel when the publishing industry is floundering? Some authors have turned to gimmicks – photos or bar codes on the page, fiction in the form of a dictionary. I've written about these new Stunt Novels for The Daily Beast.

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  • eugonline
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  • Hope for Film
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    Lettter To The Under-Appreciated Producer (aka One & All)

    Do producers ever get enough love? Is our work acknowledged for what it is? I hear from other producers, and when they speak openly and honestly, they often say no.

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  • Peter Bogdanovich
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    The Birth of a Nation

    In January, 2000, the National Society of Film Critics issued a blistering statement of protest that “deplores the rash decision” made by the Directors Guild of America’s National Board a month before to retire the name of its highest (lifetime achievement) honor, the D.W. Griffith Memorial Award, citing as their reason the racist stigma attached to Griffith’s 1915 Civil War landmark, The Birth of A Nation (available on DVD), the second half of which depicts sympathetically the rise of the Ku Klux Klan. The Film Critics went on: “The recasting of this honor, which had been awarded appropriately in D.W. Griffith’s name since 1953, is a depressing example of ‘political correctness’ as an erasure, and rewriting, of American film history, causing a grave disservice to the reputation of a pioneering American filmmaker...The DGA’s national board might spend its time on more significant business: as a watchdog pressuring the industry to improve on its shameful record of employment of minority filmmakers.” In other words, the racist aspects for which Griffith’s name was being removed perhaps still prevailed in current industry hiring practices.

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