At this point I'm starting to think that Roland Emmerich must be in possession of some pretty serious blackmail material, because there is no other explanation why accomplished actors are so ready and willing to star in his films. MTV now reports that Woody Harrelson has joined the cast of Emmerich's end of the world thriller, 2012.

The story is based on an ancient Mayan prophecy about the end of the world, but Emmerich's film is no ode to Apocalypto. Instead, John Cusack stars as an academic who opens up a portal to a parallel dimension (don't you hate it when that happens?) in an attempt to contact his double and prevent the apocalyptic prophecy from happening. Harrelson will play what he calls a "modern day Cassandra" who has seen the writing on the wall and has been predicting the disaster for years.

According to Harrelson, he will "play a guy who's been talking for a long time, the whole world thinks he's crazy. But he's been talking that there's gonna be hell to pay for what's been going on ecologically and everything." Perhaps this is Emmerich's idea of a little in-joke considering Harrelson's activist leanings. In the meantime, fans of Harrelson's work will probably prefer his upcoming thriller, Transsiberian. But who am I to judge? I guess sometimes a pay check can be its own reward.

2012 is scheduled to begin filming on location in Vancouver and is slated for release in July, 2009.

Imagine you're a green alien living happily among other green aliens on a tiny planet somewhere. Then one day an astronaut from Earth shows up and starts terrifying everyone. And he has the voice of Dwayne "The Rock" Johnson! Except maybe contractual stipulations demand that he not be called "The Rock" anymore. Still! Scary!

That's the premise of Planet 51, a computer-animated comedy that has finally, after some shuffling, been acquired by Sony and scheduled for a Thanksgiving 2009 release. The voice cast includes Johnson, Gary Oldman, Justin Long, Seann William Scott, John Cleese, and Jessica Biel. The directors are a trio of video game programmers named Jorge Blanco, Javier Abad, and Marcos Martinez, and the script is by Joe Stillman, who co-wrote the first two Shrek films.

As we reported last November, Planet 51 was originally picked up by New Line and would have been that studio's first CG release. Then New Line was folded into Warner Bros., so the film became that studio's property, and they planned to release it next summer. But according to Variety, Planet 51's producers wanted it to come out this November instead -- and that didn't work for Warners because they're already releasing a Harry Potter film in that slot. So they let the film go, and now Sony has it. The producers will get their November release date, but it'll be 2009, not 2008. Presumably, everyone's happy now.

But should they be?

Anyone who watches a considerable amount of movies has a tendency to champion the occasional gem, a title bound - nay, fated - to be overlooked by the masses. As you may have noticed, we here at Cinematical are not immune to such behavior.

On other occasions, fans of films that are being remade will find themselves violently, vocally opposed to the idea of a tainted classic or fave, whereas cooler minds step in and point out that their precious original will exist no less in its wake.

With that said, I'm about to spout off on why I think American remake Quarantine is primed to squander the considerable merits of its source material, [REC].

(Now, what nitpicks I have are about to wander off into moderate spoiler territory, which is actually my greater concern. Ergo, any of you planning to catch either film in the near future might be best served by directing their browsers elsewhere, including away from the newly released trailer for Quarantine.)

As for the twelve of you who I know have either managed to see [REC] or who just plain don't care -- come on in, the water's whine...

Whenever Scott and I aren't out fighting crime together, we tend to be chatting each other up about horror films, as he has often either pointed me towards many a overlooked gem or brought to my attention the best titles currently making the festival rounds.

Whether or not Weinberg was the one who got me initially amped up for [REC], I can't accurately recall, but the point is that I can support his many praises over the film, and I think it's safe to say that we're both cautiously optimistic about the forthcoming American remake, Quarantine. It seems that Sony's smarter minds are also prone to cautious optimism, as Shock Till You Drop informs us that the film's release has been bumped up a week, from October 17th to October 10th.

Now, the 10th is a crowded weekend - we also have a crime thriller, a family adventure, and a teen sex romp - but what's important is that not only do none of those films appeal to the same horror-seeking demographic as Quarantine, whereas video game adaptation Max Payne might on the 17th, but the move gives it an extra week to rake it in until Saw V comes around and effectively dominates the market come the 24th.

As for me, I'm still curious about Quarantine director John Erick Dowdle's previous film, the still-unreleased The Poughkeepsie Tapes. Is it some sort of staring contest between them and the equally delayed All the Boys Love Mandy Lane, or what?

I'm not exactly sure how the act of delivering silly little video games translates into tickets bought at the multiplex, but I suppose it works like this: Sony created the tie-in games, and now I'm telling you about them. So ... I guess the method works.

Anyway, it's a slow holiday weekend, which means you might have some time to waste on clicky little browser-based video games that are based on a pair of upcoming comedies. Click here for the Donkey Kong-esque misadventures on The Pineapple Express, or click here for the "whack-a-mole" game starring Step Brothers Will Ferrell and John C. Reilly.

I'm definitely looking forward to both comedies ... but I'll just stick to my beloved Zuma, thanks. (Good luck making a movie out of that game.)

Okay, so we went through something similar with Frank Darabont's unused draft of the latest Indiana Jones installment, which managed to be a bit better (read: Mutt-less) compared to the still entertaining end result. Now, it appears that the original draft for Hancock -- long titled Tonight, He Comes -- has popped up by way of Jeff Wells over at Hollywood Elsewhere (read it here). Oh, and if it's authentic, it happens to be missing the next-to-last page.

I've found the behind-the-scenes hearsay -- conveniently summed up in this NY Times piece -- on this film to be fairly fascinating. First, as scripted by Vy Vincent Ngo, Tonight had made the rounds as a reportedly hard-R superhero drama that capitalized on the somewhat sexual nature of the title. However, it seems once Will Smith was brought on board, Sony saw fit to tame things down considerably.

Even as recently as April, the MPAA had twice handed them an R instead of the sought-after PG-13, and now the finished result runs a choppy 92 minutes -- distinctly shorter than indicated in AICN test screening reports which made particular mention of a subplot involving statutory rape. Of course, as Wells brings up, it's hard to ignore the involvement of producer/screenwriter Akiva Goldsman, whose recent work on Smith's last hit, I Am Legend, had a similarly slapdash second half at the compromise of the original material.

I've yet to get more than a couple of pages into this thing, but do you guys think this is the real deal, and if so, do you guys think that this is the real film compared to what's on thousands of screens this week?

Well here's something you don't see every day: A big, flashy summertime "tentpole" movie that A) takes chances, B) bucks convention, and C) takes some real risks with its subject material. Obviously the safe approach is for Will Smith to do (yet another) easily-digestible (if somewhat mindless) blockbuster like I, Robot or I Am Legend or Independence Day -- but this time the endlessly profitable Will Smith is working with a rather distinctive director who refuses to cater to formula. That director would be Peter Berg, and this guy has yet to make a bad film.

Unfortunately the production history on Hancock is not a fantastic one. There was a revolving door of directors and script polishers before Columbia finally started production -- but there were still marketing issues, last-minute reshoots, and MPAA miseries to deal with. And yet, despite all that, Hancock arrives like a breath of weirdly fresh air for moviegoers who like a little heart and soul mixed in with their hyper-kinetic action mayhem. Toss some sharp wit and an impressive display of edge into the mix, and I think you may have one of my favorite movies of the summer. (Although one can plainly tell that there was some late cutting done to the flick, all in the name of the almighty PG-13 rating, of course.)

For quite a while now, the rumor that Huey Lewis would be performing the theme song for the expectedly hilarious Pineapple Express has been making the rounds, and today... oh, today, it has come to sweet fruition, as the theme song hits first the soundtrack's MySpace profile and then my beating heart.

I can't tell you how much it tickles me to have the sax of the News accompanied by the sound of Huey uttering the word 'chronic'. Then again, I can't tell you how much I'm tickled that we're actually facing a summer movie season that will cap itself off with Huey Lewis doing the theme song for a Judd Apatow-produced, David Gordon Green-directed stoner-buddy action-comedy, followed the week after by Robert Downey Jr. in blackface. Seriously, could you have called that this time last year?

If you don't know why I'm so psyched, I've included the NSFW red-band trailer after the jump, and for those of you who are right there with me, Pineapple Express hits (snicker) on August 8th.

[God bless Spout Blog for bringing this to our attention. I'm tempted to send you guys over a basket full of pineapples just out of principle.]

Call me crazy, but 90 minutes of Milla Jovovich doing anything is worth watching -- doubly so when her activities deal with zombies, monsters, and ridiculous high-tech weaponry. Yes -- deep sigh -- I'm a (slightly) reluctant fan of the Resident Evil series. (Yep, there's even some stuff I like in Part 2. Like Sienna Guillory.) When I'm writing or net-browsing or playing hours of Zuma, I often like to have a familiar movie playing in the background (like most people do with, um, music) and the Resident Evil flicks fit the bill quite nicely sometimes. (Depending on my mood, of course. Last night my relaxation movie was The Mask of Zorro.)

So it's my relative fandom for the series that leads me to share this half-piece of semi-news: According to the always-fun MTV Movies Blog, series master Paul W.S. Anderson has started speaking to Sony about a Resident Evil 4. And don't even dare act surprised when a series that grossed this much money moves forward on another adventure. How many Police Academy movies were there? (OK, bad example that isn't exactly helping my argument, but I seriously lost count. There were about 28 Police Academy movies? Or it only felt like that many.) Mr. Anderson doles out the reliable "Oh, once we get a good script ... We're not gonna do it just to do it" schpiel, which means he's probably about three weeks away from hiring a writer.

Columbia Pictures is prepping a comedy in which Sacha Baron Cohen and Will Ferrell will play iconic characters Sherlock Holmes and Dr. Watson, respectively. Already you know if you're going to see this movie or not, right? Count me in the 'definitely interested' pile, but then I'm one of the only people who thought Semi-Pro was freakin' hilarious, so maybe I'm just a sucker for Will Ferrell. And Sacha Cohen as Sherlock Holmes? That sounds potentially priceless. Like Peter Sellers caliber funny. (Maybe.)

Comedy flick gold-miner Judd Apatow is (of course) on board as a producer, but the director has not been specified just yet. (Nor has the name of the movie, come to think of it.) The screenplay comes from Etan Cohen, he of (still funny) Idiocracy and the upcoming (hilarious-looking) Tropic Thunder. As Variety so capably points out, Mr. Cohen and Mr. Ferrell worked together recently (not to mention humorously and very profitably) in Talladega Nights: The Ballad of Ricky Bobby.

More info on this comedy project as it becomes available, but I would like to take this opportunity to recommend a very underrated 1988 comedy called Without a Clue. The gag there was that Dr. Watson (Ben Kingsley) was actually the brains of the operation, whereas Sherlock Holmes (Michael Caine) was nothing more than a drunken buffoon of a stage actor. Funny little flick, but I refuse to buy the DVD because it's Pan & Scan only. Which is disgusting.

I wanted to go into Hancock knowing as little as possible, so I deliberately avoided reading anything about it -- at least, as much as that was possible given the amount of movie blog reading I do on a daily basis. Nonetheless, it was hard to miss that early reviews trickling in from places like Variety and Hollywood Reporter were not, shall we say, overly positive. On the other hand, several of those reviews were written by people who often seem to have cinematic tastes directly opposite mine, so I wasn't too dissuaded.

And I'm glad I wasn't, because I'm here to tell you Hancock is both an enjoyable film and one of Will Smith's best performances ever, even if it is a bit schizophrenic in its execution. The film starts out as one thing -- all we know is we're getting a film about a grumpy, alcoholic guy with super powers who's awfully deficient in the social skills department. The film opens on a scene right out of COPS: three bad guys leading police on a chase down an LA freeway, firing away on police and other cars. In between shots of the action, we see a disheveled guy snoozing drunkenly on a park bench.

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?

It seems fairly certain that Hancock will do decent business when it hits theaters this week, if only because Will Smith rarely stars in a dud these days -- especially when it's his face selling the movie before all else. Whether or not the film has staying power after opening weekend, however, remains to be seen, but Sony Pictures clearly has a lot of faith in its potential: Last week, the studio revealed its intentions of releasing the film online sometime after its theatrical run and before its DVD release, but only to users with Sony Bravia TV sets. It's a bold maneuver, one that assumes its core base of consumers actually have an interest in Hancock -- but the movie will make a profit either way, so it's a reasonable choice for this intriguing experiment.

Left in the dust by Apple's iPod, Sony continues to struggle in its search for a piece of the digital revolution. Company head Howard Stringer recently told the New York Times that the strategy for releasing Hancock "vanishes the memory of the failures of the Sony Walkman." Well, maybe. While on-demand technology has changed the way audiences consume their media, they don't like paying more money than necessary. Asking your audiences to buy a special device in order to access what, at this point, amounts to one movie -- well, that's asking a lot. But it's still a step in the right direction.

What do you think?

The script for Terminator Salvation must be all kinds of magic, because it's attracting the most unlikely of people. The Hollywood Reporter announced today that Helena Bonham Carter is in talks to join the cast, which already includes some pretty fine actors. Exactly who or what she will play is not mentioned, merely that her part is "small, but pivotal."

So, let the speculation begin! As Sarah Connor has morphed to a lovely brunette Lena Headey in The Sarah Connor Chronicles, perhaps she will be playing her in a flashback? (I know, the television show is on a separate mythology/timeline as the films, but I have to consider all the possibilities.) Could she be a Terminator model, despite her petiteness? A vital designer of SkyNet? A baker who comes up with an industrious way to dispose of fallen soldiers and feed what's left of humanity? I'm at a loss here.

Bonham Carter has certainly moved away from her Merchant and Ivory days. Who would have ever thought the adorable Lucy Honeychurch was going to be Bellatrix Lestrange, let alone go post-apocalyptic? Oddly, her attachment interests me far more than even Christian Bale's. And there, I have to hand it to McG -- every time I think my vague interest in this movie is dead, he finds a way to stir it up again.

Terminator Salvation is aiming to hit theatres on May 22nd, 2009. That is going to be one enormous summer, isn't it?

Just so we are clear, the new script by Wanted writers, Michael Brandt and Derek Haas, will have nothing to do with James Harriot's novel, All Creatures Great and Small -- although it does make a little confusing since they have the same title. The Hollywood Reporter announced that the duo have signed to complete a script for Sony and Original Films producer, Neil Moritz. According to Brandt, he and Haas came up with the idea after securing a blind deal with Sony, and Creatures was the first project they wanted to pitch to the studio.

Creatures centers on a future where humans are vastly outnumbered by animals. Brandt describes a pretty bleak future for us bipeds in the script: "... where people are literally living in forts, and the animals are running free."