Well, now I just feel silly -- thanks a lot, Win Butler. Back in May, rumors began to circulate that Arcade Fire members Butler, Regine Chassagne and Owen Pallet were working on the score for Richard Kelly's The Box, but Butler had insisted there was nothing to those rumors. Now it's eight months later, and as it turns out he was just messing with us. In an interview with Pitchfork, Butler finally fessed up that he had been working with Kelly on the orchestral score for the Twilight Zone-inspired drama. He says, "We didn't really think we were going to do the whole thing, and then it just kind of was easier once we got in. It was like, 'Oh well, we'll just keep going.' It has so much to do with the editing, and your job is just to help the director. It's a very different experience."

Kelly's follow-up to Southland Tales is based on Richard Matheson's short story, Button, Button, and centers on a couple who come into possession of a mysterious box that can make all their financial dreams come true. But there's a catch: if they use the box, an innocent person will die (I can almost hear Rod Serling in the background telling me to "Picture a couple..."). The film stars Cameron Diaz and James Marsden as the husband and wife with financial woes, and Frank Langella as the box's strange 'delivery man'. It's a pretty creepy premise that would appear to be a perfect fit for the music of Arcade Fire ... and Kelly's own twisted sensibilities.

Back in November, Will brought us the news that the film had been pushed back for a second time from March to November 6, 2009. Hopefully the delays aren't signs of another troubled production for Kelly.

They may have been star-crossed lovers, and they might have tied the knot and spent a night together consummating their marriage (even if their warring families didn't know), but I don't think ol' Juliet had time to plop out Romeo's baby before dying. As we've all seen countless times: Romeo went off to banishment, Juliet faked her death, Romeo came back and assumed she was dead and killed himself, then she woke up and killed herself. There was no time for pregnancy and baby delivery.

Nevertheless, The Hollywood Reporter posts that Universal has grabbed the rights to a novel called Juliet, from Danish author Anne Fortier. To be published sometime next year, the novel "toggles from medieval Siena to the present day in a story about a woman who discovers she may be descended from the people who inspired one of the most popular and tragic love stories of all time."

Unless they're talking about ol' Shakespeare himself, this is just not possible. Unless ... did both the Capulets and Montagues have new babies that fell in love in the very same way -- and survived? I imagine that the catch-word "inspired" will allow them to twist the Romeo and Juliet story a bit. I'm not sure how I feel about that, but I am intrigued.

First Hamlet 2, now a descendant of Romeo and Juliet. What's next? A horror movie called Titus Andronicus 2: Lucius Goes Mad?

There's just something so gratifying about a vigilante flick isn't there? Sure, they might be a little silly, but you're usually guaranteed a very satisfying night at the movies. Now that F. Gary Gray's Law Abiding Citizen is back gearing up for production, The Hollywood Reporter has announced that four new cast members have just signed to star alongside Gerard Butler and Oscar winner Jamie Foxx in the thriller; they are: Michael Gambon, Leslie Bibb (Iron Man), Colm Meaney and Theresa Randle (Bad Boys II).

In Citizen, Butler plays a successful assistant D.A., who finds himself at the center of a plot for revenge hatched by Foxx after he's been screwed by the legal system. When Foxx discovers that one of the men responsible for the death of his wife and daughter is about to go free, he targets everyone who had either something to do with the murder, or the impending legal deal.

Citizen is the first film to come out of Butler's Evil Twins shingle, and it's had some high-powered help along the way -- including a rewrite by Frank Darabont, who was also set to direct at one time, but there were some personnel changes and now Gray, a former music video director, is at the helm. Not to mention the script is still scheduled for a polish by Sheldon Turner (The Longest Yard) before the film starts production on January 21st.

Law Abiding Citizen will arrive in theaters later this year.

Cinematical has just received this exclusive clip from the film Taken, starring Liam Neeson as a former spy who must use his old skills when his estranged daughter is kidnapped and forced into the slave trade. Taken is director Pierre Morel's follow-up to the fun and exhilarating District B13, and with a script from both Luc Besson and Robert Mark Kamen, you know you're in store for a little action. In fact, advance buzz on this flick is extremely positive -- so much so that some websites are questioning the late January release date. Personally, I think it's fine to release a good film in January or February. Heck, if it's a great flick, does it really matter when it's released? Last I checked, people were still willing to go to the movies in the middle of winter when it's freezing out and there's nothing better to do.

So bring on Taken this January 30th -- I'm officially stoked to see it!

This past week, a whole lot of you probably took in a screening of The Curious Case of Benjamin Button (I took the girl to see it last night), and you've probably shared your opinions with friends, family and significant others. Some feel it's just way too long, while others argue it needs to be long in order for you, the audience member, to "feel" and adequately "experience" the main character's life-long journey. One aspect of the film a lot of people have discussed was how -- and there might be mild spoilers here -- if Brad Pitt's character starts out as a tiny old man, he should turn into an adult-sized baby at the end of the film. That would make the most sense, right?

Well, director David Fincher sat down with MTV recently and admitted that the original plan was to have Pitt play the baby. He says, "We were prepared to do that ... We just ran out of money. We could have made him into a baby. Anything you want to do, you can do now." Now THAT would've been worth the price of admission all on its own ... even though the image of Pitt as a big, weird-looking baby may have been all folks talked about afterward. Fincher also addressed those comparisons to Forest Gump, noting: "Forrest Gump? What's that? Instead of the ordinary man in extraordinary circumstances, I thought of [Benjamin] as an extraordinary man in very ordinary circumstances. I don't know how much an audience can relate to a guy who's aging backwards that ends up looking like Brad Pitt. My whole thing from the beginning has been that it's not high concept. The reason it's relatable is how it's dramatized. Everybody remembers their first kiss and hangover and person they fell in love with."

For those who've seen it, what do you think: Should Pitt have played an adult-sized baby?

Here's the first good news of 2009! Variety reports that Hugh Jackman is now off the official wishlist for Cleo, the Steven Soderbergh musical that will reportedly star Catherine Zeta-Jones as the legendary Egyptian queen, and feature the music penned by Guided by Voices.

Jackman has apparently left talks not because of the concept, but due to a scheduling conflict. (Maybe it's Drive, since everything else has vanished from his IMDB page.) Ray Winstone remains in discussion to play Julius Caesar, and Zeta-Jones is still rumored to be Cleopatra herself.

I may be one of the few celebrating the news. I know Soderbergh is a master of taking preposterous concepts and turning them into cinematic brilliance, but a Cleopatra rock musical just sounds like a spectacularly bad idea. Jackman is a wonderful stage performer, and I've been dying to see him in a movie musical for years. (If you've never seen his pre-Wolverine turn in Oklahoma!, do yourself a favor and rent it now.) But not this one -- Soderbergh or not, it just sounds too campy to be believed.

Since Variety is stumped as to what caused the schedule conflict, I'll make a New Year's wish and hope his production shingle has decided to really get moving on that remake of Carousel. Jackman has had the rights to it for awhile, and to see him singing and dancing in that is ten times better than seeing him as a rocking Mark Antony.

So it seems The Weinstein Co. has opted to release Quentin Tarantino's Inglourious Basterds on August 21, 2009, which seems to be a strange date for not only a Tarantino flick, but also one starring Brad Pitt that's set during World War II. Late August is usually dumping ground for iffy action flicks and C-grade comedies. This past August 22 saw the release of Death Race, The House Bunny and The Longshots, to give you an example of the type of films we expect to arrive on that weekend.

Tarantino has already stated that he wants to screen Basterds at the Cannes Film Festival in May, so we assume some sort of cut will be finished by then. One imagines the buzz from that first screening will dictate the film's final release date. Personally, I can't see it staying in late August. Remember a similar move was attempted with the WWII flick Valkyrie, which was originally a June release before being pushed back to Christmas. If Basterds receives any type of awards buzz out of Cannes, the Weinstein Co. will package it right up, toss it into the Toronto Film Festival or The New York Film Festival and release it in the fall.

All I know is that both The Weinstein Co. and Tarantino should think real hard about when they want to release this film, especially after the botched release of Grindhouse on Easter weekend. It should be interesting to see where this sucker eventually ends up. When do you think a film like Inglourious Basterds should hit theaters?

A lot of the time, watching a movie, we recoil or start at something in it: That's fake, we say, and dismiss the whole film. On many occasions, that impulse is correct because the film is fake, but on rare occasions, we feel that sensation of dislocated wrongness not because the film is fake but because our world is; we can't wrap our heads around the facts and ugly truths of what we see, can't comprehend how such things are possible, and recoil from them out of refusal to believe, not because they aren't believable. This is one of the challenges Defiance, the newest drama from Edward Zwick (Glory, Blood Diamond) faces as it tells the true story of the Bielski brothers, three Belorussian Jews and outlaw petty criminals who, during World War II's pogroms and purges, protected hundreds of Jews from the Nazis, some surviving and others actively fighting back.

We witness Tuvia Bielski (Daniel Craig) make the decision to kill his horse so it can be eaten, and we cannot imagine such hunger. We watch Zus Bielski (Liev Schrieber) fight alongside Russians who hate him to stop Germans who hate him, and we cannot imagine such a grim choice. We watch Asael Bielski (Jamie Bell) fall in love, or a quick quip between two supporting characters, and we cannot imagine love, or laughter, in such a place. But there must have been such hunger; there must have been such anger; there must have been laughter, and love, in the years of exile. It's hard to imagine, but that doesn't mean it's not true.

(We're reposting our SXSW review of The Lost Coast to coincide with the film's release via Amazon VOD)

By: Eric D. Snider

As Jasper, the narrator and protagonist of The Lost Coast, begins to describe the events of Halloween night, he says, "We found a dead body -- but more on that later." You know it's an eventful night when discovering a corpse isn't even the lead story.

In this moody, occasionally dreamlike drama, it's not what happens to Jasper and his friends that's important, so much as what happens within Jasper's soul. Yes, most of the drama here is internal, and while writer/director Gabriel Fleming falls prey to some of the missteps typical of new filmmakers, he gets a lot right, too, with a lot of emotional insight.

The film is constructed around an e-mail that twentysomething Jasper (Ian Scott McGregor) is writing to his fiancee overseas, in which he explains what happened the previous night. We gather from his tone that the events were of some importance, and the fact that it was Halloween in San Francisco -- one of the most raucous nights in a raucous city -- suggests there may have been shenanigans (if you know what I mean).

Oprah Winfrey might be one of the most powerful women in the world, but one thing's for sure: the gal has no talent for spotting literary scams. Variety has reported that Herman Rosenblat's Oprah-endorsed Holocaust memoir, Angel at the Fence, has been pulled from publication by Berkley Books just weeks before the book was scheduled to hit the shelves. But that's not all -- plans for a $25 million film based on the book have been compromised following allegations by scholars, friends and family members that Rosenblat's tale was fabricated (New Republic has the whole story over at their website).

According to Rosenblat's tale, his family was forced into the Schlieben Labor Camp in Germany, where he supposedly met his "angel" -- a young Jewish girl who lived outside of the camp and met Rosenblat at the fence to give him apples and bread, and he never learned her name. After the war, he relocated to New York and on a double date finally met the young girl who had kept him alive during his time at the labor camp. The two eventually fell in love, and it was that love story that earned them the spot the Oprah show (twice!) where she referred to their tale as "the single greatest love story" she had encountered in her 22 years on the show. Oprah has since declined to comment on the current controversy.