Wait, stop -- don't throw yourself out that window just yet! It may or may not be as bad as it looks/sounds. According to Slashfilm, one of their readers attended a Q&A session with one of the writers of Eagle Eye, which was hosted by Creative Screenwriting magazine. During said Q&A, the writer, Travis Wright, said that he and his partner John Glenn were working through "various treatments for a Blade Runner sequel over the last couple years." Apparently, they've been working alongside Blade Runner co-executive producer Bud Yorkin, and all of this has been done outside the studio system -- meaning this is in no way a done deal, only that these writers are trying to put together their best package in the hopes a studio will bite.

As of right now, Ridley Scott is nowhere near the project (although both guys are working on a Warriors remake for Tony Scott), and given the somewhat negative reaction to Eagle Eye, I imagine most fans will take a similar approach. In my opinion, Blade Runner is a film you don't touch and you don't sequel-ize, but perhaps I'm in the minority. Maybe there's a very cool way of doing it -- maybe I'm wrong, and maybe this is a project fans can get behind. What do you think? Blade Runner 2? Could it happen? Would you watch it?

Update: Eagle Eye co-writer John Glenn responded via email to this. Here's part of what he said: "There was a point where Travis and I were working with Bud Yorkin on a sequel to Blade Runner, but that was years back. It never got too far off the ground because the movie is so perfect, so the more we thought about it, the more uneasy we became with the idea. Anyway, just an note to clear the air." More over at Slashfilm.

I recall reading about real-life experiments with invisibility a couple years back, and I could have sworn I blogged about them here on Cinematical. But I must have decided to keep Harry Potter fans from getting their hopes up, despite the fact that the original article I read had specifically mentioned Potter's invisibility cloak. Plus, I must have been hesitant to attempt to explain the science behind it.

Well, now that more news has come out about the development of materials that may be able to render people and other three-dimensional objects invisible, I figure it's time to get excited. Now we can definitely wander around Hogwarts after dark without being spotted by Argus Filch. Or, for the grown up kids, you can potentially sneak into the girls' locker room. Just beware that these real-life cloaks probably don't work so well in such foggy conditions.

There are a few classic films that I simply refused to rent while growing up, specifically for the reason that I knew I should see them for the first time on a big screen. Of these, I managed to see both 2001: A Space Odyssey and Blade Runner in a theater, while others, such as Lawrence of Arabia and Close Encounters of the Third Kind, were on television too often to ignore them on the small screen first. One film that I'm still dying to see in a theater is Terrence Malick's Badlands. A few years ago I actually went to a special screening of the film in Connecticut, but it was disappointingly (understatement) projected from a DVD copy. Then two months ago it played one show at NYC's IFC Center, but I had to miss it for another engagement.

Last week Entertainment Weekly presented an article/photo gallery titled "23 Movies You'd Like to See on the Big Screen," which lists these kinds of films (there's actually many more than 23 cited), most of which should ONLY be seen on the big screen, as they were originally meant to be. The list includes obvious epic choices like 2001, Lawrence of Arabia, Gone With the Wind, The Greatest Show on Earth and The Ten Commandments, as well as other classics, like Malick's Days of Heaven, Casablanca, Once Upon a Time in the West, Star Wars, High Society, Halloween, Singin' in the Rain, To Kill a Mockingbird, Psycho, Oklahoma!, The Music Man, Snow White and the Seven Dwarfs, The Searchers, Stagecoach and The French Connection.

As Jack Handey put it, "It takes a big man to laugh at himself, but it takes an even bigger man to laugh at that man." Crimewave is about that big kind of man, and his partner: two electrocutioners on a rampage. They prowl the streets in a truck with a hog-sized stuffed rat on top, with red light bulb eyes. The driver is Faron Crush, who looks like Paul Sorvino playing the Incredible Hulk. HIs sniggering partner Arthur (Brion "I'll tell you about my mother" James) wears a jumpsuit, fingerless leather gloves, and a flat leather cap the shape and color of a cow-chip. If you ever had a nightmare about Gallagher, that's what Arthur looks like. The two maniacs carry with them "a shocker," a killing-machine that has three settings: "Rat," "Man" and "Hero". And they have no motivation beside malice and sheer professionalism.

What happens when men in blue, sworn to protect and to serve, fly out of control? If we're lucky, we get a good movie out of it. If we're really lucky, we get a larger than life character to cheer and to fear. Are you feeling lucky, punk?

Keanu Reaves, of all people, will follow in the steel-toed shoes of some of cinema's finest as a cop who goes on an avenging rampage in David Ayer's Street Kings, which opens tomorrow. That made me reflect on my favorite out of control cinematic cops, men in blue who break free from the laws of god and man. Let us know who we missed in the comments section. But be nice, or we'll track you down and crack you over the head with a night stick.

1. Clint Eastwood, Dirty Harry

Clint is so cool as Harry Callahan that he can just glare at bad guys and they give themselves up. Dirty Harry never met a criminal he couldn't beat up, a sergeant he couldn't hate, or a partner he couldn't get killed. He can't help it: he married justice a long time ago and the blind old bat won't leave him alone until he takes out the garbage. Don't even think about getting in his way: he solved the Zodiac killings in 102 minutes! Dirty Harry paved the way for several sequels and countless gruff, lone wolf outlaw police detectives.

Now that Blu-ray will officially take over the HD market with regards to DVDs, it's about time you pick yourself up a player. You'll find, though, that once you purchase a Blu-ray player, the DVDs are crazy expensive. Some, like massive special editions, cost up to $40-50. I'm sorry, but that's a lot of money for a movie. In fact, ever since receiving my Blu-ray player (in the form of PS3) back at Christmas, it took me forever to purchase my first Blu-ray DVD. That film came this past weekend when I splurged and picked up I Am Legend (for a whopping $35!). Ah, but now, Amazon has a wicked deal for those of you who desperately want more Blu-ray DVDs, but don't have the money to shovel out.

Right now, Amazon is running a buy two, get one free on a lot of their Blu-ray discs. Better yet, the discs are already on sale. For example, the Blade Runner (Five-Disc Complete Collector's Edition), originally priced at $40, is now only $27.95. You can even get 300 on Blu-ray for $23. Throw both of those in your queue, and you get to pick out one Blu-ray DVD for free! Not a bad deal if you ask me. Some of the DVDs they're offering on Blu-ray include Monty Python's Life of Brian ($19.95), The Departed ($23.95), Unforgiven ($19.95), Reservoir Dogs ($20.95), First Blood ($20.95) and a whole lot more. So check it out and have a blast -- you have until April 18.

[via Slashfilm]

Among my favorite film books is Michael J. Weldon's two-volume "Psychotronic" film guide. The first was published in 1983 and the second in 1996 (Michael hopes to publish a third at some point). Unlike Leonard Maltin's annual book, Weldon doesn't update an existing guide; each new guide is an entirely new volume. If you want to read about Halloween, you need Vol. 1 and if you want to read about Halloween 4, you need Vol. 2. A "Psychotronic" movie can be fairly easy to define. It's basically any of the "lower" film genres, dealing with the more questionable elements of society: horror, sci-fi, bikers, strippers, superheroes, zombies, kung-fu, vampires, comic books, drugs, sex, action heroes, rock 'n' roll, midnight movies, monsters, witches, cults, serial killers, magic, time travel, robberies, heists, contract killers, gladiators, Spaghetti Westerns, mad scientists, murder mysteries, pimps, voyeurs, etc.

The man fanboys (and girls) love to hate has landed another comic book property.

Variety reports that Paramount has purchased the rights to Jim Shooter's Harbinger, with an eye to giving Brett Ratner the franchise. He's looking for the chance to start a franchise from scratch -- and probably regain the goodwill of comic fans everywhere.

Harbinger is a story about superpowered people, humans who are the next stage in evolution. But unlike the mutants of X-Men, their powers must be activated by the Omega Harbinger. The series follows one Harbinger teen, Peter Stanchek, as he teams up with others to bring down Toyo Harada, the Omega, who has used his powers to slowly conquer the world. I think it's pretty much faded into obscurity, though at one point, it was popular enough to boast a Frank Miller cover on one of the issues.

Will the Harbinger fans be up in arms at the choice of Ratner? Will people just be annoyed in general, X-Men 3: The Last Stand being too dreadful a sin to be forgiven? Or will this be his way back into the fold? I know what annoys me -- producer Alexandra Milchan's Blade Runner comparison! "The movie is in the vein of a young Blade Runner, as this 17-year-old gifted kid helps other kids tap into these parts of their brains." Has no one in Hollywood actually sat down and watched Blade Runner?

As the son of an illustrator, I grew up appreciating movie poster artists more than probably do most movie geeks. And John Alvin, who passed away last Wednesday, was one of the artists I idolized. Alvin is considered one of the most important poster artists of the past 35 years, and it's no wonder. From E.T. to Gremlins to Blade Runner to The Goonies* to numerous Disney films, his art is as recognizable and iconic as poster design gets. The Smithsonian even named one of his works, for Brian De Palma's Phantom of the Paradise, one of the best posters of the 20th century.

His name may not be as familiar as that of Drew Struzan, another well-known movie poster designer whose work is quite similar. And it isn't that strange to (as I did often in my youth) confuse the work of the two illustrators, both of whom attended the same school as my father, Pasadena's Art Center College of Design, and both of whom worked for many of the same clients and for many of the same films. But there's no doubting that Alvin, who got his start with the poster for Mel Brooks' Blazing Saddles and worked on many of Brooks' film campaigns from then on, was a distinctly innovative artist.

In addition to designing original posters for more than 135 films, Alvin produced art for many special edition and anniversary releases, as well as collector's art for popular movies such as Star Wars, The Lord of the Rings and Pirates of the Caribbean. There's probably a good chance that, if you're a real movie geek, you have something of his hanging up in your room or home. I think the closest thing for me is a Blade Runner t-shirt on which his poster art appears. And, of course, I can see a bunch of his talent clearly when looking over at my DVD collection*.

For a good list of his work, check out the filmography on his Wikipedia page, and for a fairly comprehensive look at images of his posters, check out this fan site.

*I just realized that the poster for The Goonies that I'm most familiar with, and which is on my DVD, is the one by Drew Struzan. Oops.

Mermaids don't need cars, which must be the reason that Daryl Hannah is auctioning off her 1983 Chevrolet El Camino. And you can bid for it on eBay! Sure, it's not the same as having a car that appeared in a movie, but you'd still be buying a car that you can say was driven by Pris from Blade Runner. Plus, you can make a copy of that photo of her and the car and tape it to the dashboard. But why else might you want the thing? Well, it runs on biodiesel, which means it's better for the environment than whatever you're driving. Don't know anything about biodiesel? Don't worry: Hannah is throwing in a resource guide and a fueling station that's said to be about the size of a garbage can.

Apparently Hannah has been trying to sell the car for a couple months now, but this is its first time on eBay. According to Ecorazzi.com, it wasn't a matter of not being able to sell the car; rather, she had too many inquiries and couldn't figure out a better way to make a deal than to auction the car off fair and square. You have until Friday evening to attempt to reach the actress' reserve, which must be more than $9,700.00, since that's the current bid as of this writing. So, what do you think? Interested? Then do as Roxanne, I mean Elle Driver, I mean Daryl Hannah says: "woo hoo! kick oil! no war required... 2 see more about bio-diesel + the el camino - ... go 2 dhlovelife.com ... so get up and get off the fossil fuels!!!"

'Tis the season to get away from your family, bundle up with a gallon of moonshine (preferably one with "XXX" written on the label), and watch endless hours of movies! What follows is not a comprehensive or "Best Of" list. These are simply seven DVD box sets that any film buff would be thrilled to find in his or her stocking this Christmas. Most of them were released in the past few months, and a couple have been out a while but just got amazingly cheap. Have a few gifts left to buy? Consider picking one of these up. You don't even have to get off your fat ass, if you click on the titles you'll be taken to the links on Amazon. I've included items to suit every budget, and they've been arranged in order of price. Naturally, the more expensive the set you purchase, the more you love the person you're buying it for. That's just the way it works.

The Alien Quadrilogy ($33.99)

Pretty much the gold standard for DVD box sets. This collection's price recently took an incredible drop. It was worth every penny of the $80 bucks I paid for mine years ago, so you can better believe it's worth $34. The set gives you several versions of each film in the beloved Alien series -- Alien (one of the best suspense movies ever made), Aliens (one of the best action movies ever made), Alien 3 (David Fincher's misunderstood take is a stronger movie with each viewing), and Alien: Resurrection (Nobody's perfect). An unprecedented amount of extra goodies that includes the amazing Director's Cut of Aliens, extremely cool fold-out packaging, and the absence of Alien Vs. Predator make this set a must-own. I've owned it for four years, and still haven't seen everything in there. Plus, don't you just love the word "Quadrilogy?"

Last Thursday I caught the last local theatrical screening of Blade Runner: The Final Cut and it took my breath away. Landmark's Inwood Theatre in Dallas is a grand movie palace, dating back to 1947; the auditorium has been refurbished in recent years but the auditorium retains its gently sloping floor and old-style seating. Sitting close to the very large screen, I became enveloped in the visuals and felt myself transported to its dark vision of the year 2019.

When I first saw the film in 1982, I was a young adult still enamored with science fiction novels and stories that I'd read growing up. I was sorely disappointed by the very narrow type of science fiction stories that were being told cinematically; space wars are fun, but where were the movies that challenged my perceptions of the universe? Blade Runner felt like a huge step forward, though even then the original ending and other elements felt like compromises of Ridley Scott's vision.

Revisiting Blade Runner after so many years, I was struck again by its anti-narrative leanings, but I was even more caught up in the splendid visual details. As much as Blade Runner's graphic schemes have been appropriated by and influenced others, the original maintains a great deal of authentic power, a bold mix of past, present and future.

Looking around the auditorium, I was glad to see that I was probably the oldest person there. When I first became fascinated by film, way back in the Mesozaic Era (i.e. pre-VCR), I was living in Los Angeles and could attend a multitude of repertory theaters to catch up with movies from past decades. Nowadays, the opportunities are few and far between. Dallas does not have a single repertory theater and screenings of older films are usually limited to the acknowledged "classics," overly familiar warhorses that are, presumably, more likely to draw a crowd that will enable the exhibitor to break even or perhaps earn a small profit.

Balls of Fury
Does anything more need to be said other than that Balls of Fury is a ping pong action movie co-starring Christopher Walken? Frankly, that's enough for me. But if you happen to be a Bruce Lee fan, the fact that it's a spoof of Enter the Dragon may entice you. The comedy details a former Pong phenom called Randy (Dan Fogler), who is sent on a special mission to nab his father's killer, Feng -- who just so happens to be played by Walken. With Maggie Q and a spiritual guide, Randy gets back into ping pong shape and heads to Feng's jungle compound and his ping pong tournaments.

This DVD includes an alternate ending, a small serving of deleted scenes, a comedy bit about, erm, ball handling, and a "Making Of" featurette that includes cast and table tennis guru Wei Wang, who also helped out this year's other ping pong movie, Ping Pong Playa.

Check out James' Review | Buy the DVD

Blade Runner
It has been 25 years since Blade Runner first hit theaters, and now we're getting one hell of an anniversary DVD gift just in time for the holidays. Originally stemming from the mind of Philip K. Dick, the film is a cyber-heavy vision of the future where replicants (human clones) are whipped up to work on colonies outside of Earth. However, when some escape and head to the planet, Deckard (Harrison Ford), a cop and replicant terminator, must put aside his visions of retirement and stop them. The flick also starred the likes of Rutger Hauer, Sean Young, Edward James Olmos, and Daryl Hannah -- and of course, it's one of the biggest and most loved sci-fi films to hit the screen.

Fans can choose one of 3 main sets -- the 2-Disc Special Edition, the 4-Disc Collector's Edition, or the mack daddy of collections: The Ultimate Collector's Edition. The 2-Disc set offers Ridley Scott's new, final cut of the film with three commentaries, plus a feature-length documentary on the film's creation. If that's not enough, you can up it two more discs and also get all the different cuts -- theatrical, international, and director's, as well as another disc with 90 minutes of rare footage and featurettes. Finally, you can add one more disc and store it all in a sweet, metal case. The extra DVD shares a "Workprint Version" that changes things up a bit (such as no Deckard narration and no happy ending) and includes one more featurette and commentary.

Check out Ryan's Review of the Final Cut | Buy the 2-Disc, 4-Disc, or 5-Disc DVD


Other New DVD Releases (December 18)
Stardust
Underdog
Halloween
Rush Hour 3
Evil Dead: Ultimate Edition DVD
Bring It On: In It to Win It
Cinderella II: Dreams Come True

*And apologies to Simpsons fans: The Simpsons Movie

Check out Peter Martin's Indies on DVD for even more new releases.

With the writer's strike in full swing, I thought I'd pay tribute to a few of the writers who currently have films in theaters. Quite frankly, you really have to admire some of them. Take Allison Burnett, who adapted Feast of Love (2 screens) as well as this year's earlier Resurrecting the Champ. Burnett received very little love for either movie, but consider how hard it must have been to cut down a novel and expand a newspaper article at the same time? It makes my head spin. It's also quite impressive that Burnett was able to work again after his earlier script was turned into the universally panned film Autumn in New York (2000). But the thing that impressed me most of all about Burnett is his first produced script, Bloodfist III: Forced to Fight (1992), a vehicle for "Z" level action star Don 'The Dragon' Wilson. This is from a guy who studied playwriting and has published a novel. I can only imagine what it must be like to sit down and actually write something like that. Do you tape the paycheck on the wall next to your desk and keep staring at it? Good for Burnett that he made it out of that hole.

Then there's The Simpsons Movie (96 screens), which has at least eleven credited writers, and possibly more who added material without credit. Among them we have David Mirkin, who directed one of my all-time favorite guilty pleasures, Heartbreakers (2001), and James L. Brooks, who won an armload of Oscars for Terms of Endearment (1983). Most of the others are from TV, and I'd like to think they wrote this movie the way they might have written a half-hour episode: by sitting around a big table and throwing out ideas and laughing a lot. Those writer rooms are usually decorated with stuffed animals and novelty items, as well as plates of donuts and other snacks -- perhaps some kind of air freshener as well. It makes me all warm just thinking about it.

The newly restored and, at long last, director-approved final cut of Blade Runner is playing in theaters in New York City and I had the chance to see it with an audience a couple of nights ago. My initial reaction was relief that the dreaded voice-over was completely absent, as it should be. Once I was able to settle into my seat without having to hear "the charmer's name was Gaff" I knew the rest would be gravy, and so it was. I'm happy to report that this restored print of the film looks completely amazing -- the restoration is as clean and clear as any I've ever seen.There have even been some touch-ups and a bit of re-shooting, although to what purpose I don't know. The new end credits give a big thank-you to Joanna Cassidy for agreeing to do some kind of re-shoot work, but if no one ever told me it had been done, I'd never know, so it must be some little thing that had been eating away at Ridley Scott.

This final cut isn't just a restoration of the visuals, though -- it's a plot restoration as well, and one that I find completely stupid and unnecessary. If you don't know what I'm talking about, then I don't know where you've been for the last twenty years, so I have no compunction about spoiling it for you. Ridley Scott feels that Deckard, Harrison Ford's Philip Marlowe of the future, is a replicant, just like the replicants he's chasing. It was always his prerogative to think this, even though it doesn't fit into the framework of the story, but now he's made his interpretation of it the definitive one. Instead of the film ending with Deckard spiriting Sean Young to safety in the woodsy wherever, he now learns that a vision that had haunted his dreams, of a galloping unicorn, is known to his fellow Blade Runners. They know he's a replicant, and they'll be coming for him. As this realization dawns on Deckard at the end of the new cut, he grabs Sean Young and slams the door closed -- smash cut to end titles.