The latest teaser for Zack Snyder’s Man of Steel is an effective one. The clip introduces General Zod via a grainy video transmission that makes Superman’s arch enemy look a lot creepier than he does in production stills. The voice clearly belongs to actor Michael Shannon , who plays Zod in this latest reboot of Warner’s Superman franchise, but the staticky image leaves the impression that the Kryptonian wack-job is wearing some sort of mask with weird eyes and an exceptionally elongated chin. Either that or Zod trimmed his goatee and got some sleep after sending this transmission. (See the photo above.) The calm way in which the baddie warns that the planet Earth will “suffer the consequences” if Kal-El (Superman’s Kryptonian name) doesn’t surrender is also a nice chilling touch. There may be more to look at in a couple of days or so. ComingSoon.net reports that another site IWillFindHim.com is counting down from 48 hours, possibly for a trailer. Since I can’t read Kryptonian, or whatever language that is on the screen, I’ll take their word for it. I, Zod [ ComingSoon , I Will Find Him ] More on Superman: Warner To Announce New DC Superhero Movies (And Remember Those Joseph Gordon-Levitt Rumors?) What The Kal-El? The Seriously Weird Superman That Nicolas Cage Almost Played Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Why am I not excited about Pacific Rim ? I’m mostly a fan of Guillermo del Toro ‘s work, particularly the superb Pan’s Labyrinth , but the three teaser clips that have been released for the filmmaker’s hotly anticipated mechs-vs-monsters summer sci-fi film have all left me cold. Part of the problem is that they’re all virtually the same. The new international TV spot, for instance, is a condensed retread of the earlier trailers, and its brevity draws attention to what I think may be the film’s biggest weakness: a lame monster. Yes, the giant human-piloted Jaeger mechs are impressive — even if they defy science and physics — but their enemies, which are called Kaiju , Japanese for “strange beast,” don’t look the fearsome, formidable part they’re supposed to play in the picture. (If you’re okay with spoilers, this review of the Pacific Rim script indicates that the Kaiju overwhelm the Jaegers.) Clearly, del Toro is paying homage to the Japanese Toho Studios kaiju films of the 1950s, ’60s and beyond — the Godzilla franchise being the most well known of them. The problem is, the creature in the Pacific Rim looks like it came directly from the set of one of those hokey movies and didn’t stop by the visual effects department to get a rad new upgrade. Remember, Gamera , the amusing flying turtle (which was not a Toho creation)? If you took the body of that ’60s-era monster and grafted the head of Roland Emmerich’s 1998 Godzilla onto it — not a movie that any filmmaker should be referencing — then you’d get a creature similar to the one you see in the photo above and trailer below. Not-So-Scary Monster Perhaps del Toro is keeping more fearsome creatures under wraps. The Kaiju apparently hail from another universe — a kind of interstellar Monster Island — so conceptually there could be more than one species. I hope so. If the creature in the teasers is all we get, then Pacific Rim could suffer from a real tension deficit. One other thing: It’s time to give Idris Elba’s “Today, we are canceling the apocalypse!” speech a rest. It was rousing the first 10 times I heard it — in January. Three months later, it’s ripe to be satirized, and the movie isn’t out until July 12. What do you think? More on Pacific Rim : ‘Pacific Rim’ Vs. Real World Physics: Giant Robots, Galileo, And The Square Cube Law WATCH: Do The Jaeger Meisters In New ‘Pacific Rim’ Trailer Defy Logic? [ Insight: Movies ] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Spike Lee’s remake of Park Chan-wook’s Oldboy doesn’t hit theaters until October, and that just seems way too long to wait. I’m genuinely excited to see what Lee does with the material and am envisioning a revenge (and blood)-soaked 25th Hour . The good news is that FilmDistrict has finally dropped a tiny morsel from the upcoming film. The bad news: it’s chicken scratch. The distributor has unveiled a teaser poster for the film at CinemaCon , which is taking place in Las Vegas April 15-18 . The symbolism borrows from Park’s original: they’re the scratches that the imprisoned protagonist Oh Dae-su ( Choi Min-sik ) uses to keep track of time. That character gets an American makeover in Lee’s version: He’s now Joe Doucett (Josh Brolin), and, according to the official synopsis he’s an advertising executive “who is abruptly kidnapped and held hostage for 20 years in solitary confinement. When he is inexplicably released, he embarks on an obsessive mission to discover who orchestrated his bizarre and torturous punishment only to find he is still trapped in a web of conspiracy and torment.” These clues leave me with a handful of questions, most of them having to do with other plot points from the original that are ripe for homage: 1) There are a lot of advertising executives I’d like to see locked away, but for 20 years? What did he do, devise those Kia ads with the hipster hamsters ? 2) In the original Oh Dae-su tracked down his captor via the dumplings he was fed in prison every day. If an American comfort food is substituted, what will it be? Macaroni & Cheese? 3) Will the live octopus-eating scene be referenced? (If you haven’t watched the original Oldboy , you should, but, in the meantime, I’ve posted the scene below.) 4) Will incest figure into the plot as it did in the original? If so, American audiences will squirm enough that reprising the live octopus scene won’t be necessary. 5) Does Lee’s brother Cinqué Lee have a thing about playing bellhops ? He plays one in this movie, and he played one in Jim Jarmusch’s 1989 film Mystery Train . If you crave more Oldboy info while you wait for a trailer, check out my interview with director Park in which he explains why he’s not interested in seeing Lee’s remake until it’s released. And order up some live sushi: Now that’s fresh Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
Park Chan-wook’s reverence for Alfred Hitchcock and David Lynch shines through in his English-language debut, Stoker . It’s a tightly wound thriller with psychosexual undertones and shocking — yet artful — violence in which, it seems, no detail is accidental and the details, both visual and auditory, add up to a lavish cinematic experience. Stoker chronicles the macabre coming of age of 18-year-old India ( Mia Wasikowska ) when her father is killed on her 18th birthday and her handsome but creepy Uncle Charlie ( Matthew Goode ) comes to stay with her and her emotionally remote mother Evie ( Nicole Kidman ). On the eve of the film ‘ s March 1 U.S. opening, I spoke to Park about his vision for the film, the alterations he made to Wentworth Miller’s white-knuckle script and the film’s connection to his 2009 vampire movie Thirst, even though, despite its title, Stoker has nothing to do with the undead or the supernatural. The soft-spoken filmmaker also told me why he doesn’t want to see Spike Lee’s take on Oldboy until it’s released weighed in on the movie violence debate that erupted in the wake of the Newtown shootings. But wait, that’s not all! Preceding the interview is an exclusive featurette, courtesy of Fox Searchlight, in which Park and his cast discuss the movie. Enjoy. Click here to view the embedded video. Movieline: This is your first English-language film, and it’s set in America. I’d love to know if you wanted make any kind of a statement about American culture in Stoker . Park: Although Wentworth was obviously influenced by Shadow of a Doubt , the first American film that Hitchcock made, it’s not a commentary on American society at all. What attracted me to the script was that the story deals with the very universal idea of this family relationship. It doesn’t matter what country you’re from, you’ll be able to relate to and enjoy this film. You have said that Hitchcock — and David Lynch as well — influenced you, but the character of India’s mother, Evelyn, would be at home in a Tennessee Williams play. Was that intentional? Actually, the intention was to not evoke Tennessee Williams because the script ran the risk of being so under that influence. Of course, I am a fan of Tennessee Williams, but it’s not where I wanted to go, though I don’t want to blame Wentworth for everything. [Smiles] Lady Vengeance and, to a degree, Sympathy for Mr. Vengeance had to do with family and revenge. I feel like these themes connect your earlier work to Stoker . Would you agree? It would depend on who’s doing the interpreting. Take the vengeance theme, for example. Some people might say that this film has nothing to do with the idea of vengeance. But if you want to interpret it as a story about vengeance, you can. It lends itself to that interpretation just as well as any other. Well, without spoiling the movie, there is at least one of act of vengeance committed — more, depending on your interpretation. It’s certainly not the only theme, but it’s definitely there. You’re absolutely right. It is an entirely possible interpretation. And there you have the link to the Vengeance trilogy. But I would say that Stoker lends itself just as well to vampiric aspects and is more closely linked to Thirst . But I also wanted to focus on the coming-of-age story of a young girl, and in that sense, it’s closer to I’m A Cyborg But That’s OK. Evie’s coldness and cruelty toward India is quite memorable. Is that straight from Miller’s script or did you expand upon that in the storytelling? I actually weakened it. Take the example of Evie’s big monologue. She’s cursing her daughter — it’s a very, very cruel thing. But in the original script, the monologue ended with Evie telling India: “I can’t wait to see life tear you apart.” I wanted to add a deeper layer to Evie’s character. I wanted her to be surprised at herself for having said such a cruel thing to her own daughter. So, I worked with Nicole to add more action and dialogue. The result is that after Evie realizes the harshness of what she has just said, she tells India: “Who are you? Aren’t you supposed to love me?” And this is where we see that, underneath all of the vitriol, she’s a mother yearning for her own daughter to love her. And in that we find a very relatable and ordinary maternal figure. Have you gotten a chance to see any of Spike Lee’s remake of Oldboy ? I haven’t. I don’t have any detailed information about it, and I don’t want to find out any more than I already know. When the film comes out, I want to be surprised and stunned by the great filmmaker that Spike Lee is. The violence in your film is shocking, but it’s also integral to the story. I’d love to know your opinion of the debate here over cinema violence and whether it influences actual violence. I cannot believe that violence depicted onscreen actually causes people to act out violently. That’s oversimplifying the issue. If somebody commits a violent act after seeing violence in a movie, I think the question that needs to be asked is: would that person still have committed the act if he had not see a violent film? Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
I missed Stoker at the Sundance Film Festival , where the buzz was decidedly mixed, but based on the first GIF posted the below the jump, Chan-wook Park ‘s thriller looks like it may be the second movie of that last year that stars Nicole Kidman and features a weird urination scene. Unlike The Paperboy , in which Kidman pees on the face of Zac Efro n to treat him for a jellyfish sting, Mia Wasikowska appears to be the one shaking the dew off her lily, so to speak. That’s an educated guess, though because all that’s seen in the GIF are a pair of saddle shoes and a puddle. Fox Searchlight is posting these clips — and correspondence depicting memorable lines from the movie — at letterstoindia.com , (Wasikowska plays India Stoker in the movie, and the website helps establish why, as the trailer shows, she’s going to be a barrel of fun by the time she’s an adult. Here are some of the more unusual GIFs from the site: I don’t see any jellyfish there, do you? And here’s the devil-in-training making a snow angel on her bed: And here, Wasikowska manages to even chew her food with smoldering malevolence: Put those all together, read the postcards and letters on the site, and you won’t be surprised when you see young India is shouldering a sniper rifle in this trailer. MORE ON STOKER: SUNDANCE REVIEW: Splendidly Demented ‘Stoker’ Should Quench Park Chan-Wook Fans’ Thirst Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
When South Korean genre iconoclast Park Chan-wook decided to bring his peculiar gifts to a Stateside production, anything could have happened — and anything pretty much does in Stoker , a splendidly demented gumbo of Hitchcock thriller, American Gothic fairy tale and a contemporary kink all Park’s own. Led by a brilliant Mia Wasikowska as an introverted teenager whose personal and sexual awakening arrives with the unraveling of a macabre family mystery, this exquisitely designed and scored pic will bewilder as many viewers as it bewitches, making ancillary immortality a safer bet than Black Swan -style crossover biz for Fox Searchlight’s marvelously mad March hare. Earmarking future cult items is a fool’s errand, but Park’s film nonetheless stands to be treasured not just by his existing band of devotees, who should recognize enough of the Oldboy and Thirst director’s loopy eroticism and singular mise-en-scene amid the studio gloss, but by epicurean horror buffs, camp aficionados and even a small, hip sect of post- Twilight youths. Not all those auds will follow the stream of wink-wink storytelling references in the brazenly nasty script by Wentworth Miller , the British-born actor best known for his work in TV’s Prison Break , here making his feature writing debut. None is more blatant than the naming of Matthew Goode’s antagonist figure. When morbid-minded honor student India (Wasikowska) loses her beloved father, Richard ( Dermot Mulroney ), in an apparent freak car accident, the ink is barely dry on the death certificate when her globe-trotting uncle Charles (Goode, his unhurried charm and preppy handsomeness put to their best use since 2005’s Match Point ), whom she’s never met before, arrives to stay. Before you can say Shadow of a Doubt , this urbanely handsome “Uncle Charlie” is arousing India’s suspicions (and, it’s implied, other things besides) as he swiftly cements himself in the household by seducing her brittle, emotionally susceptible mother, Evelyn ( Nicole Kidman ). Shortly afterward, their housekeeper disappears without notice; ditto India’s meddlesome aunt (a brief but tangy turn from Jacki Weaver ), who appears to know troubling truths about the intruder, dismissed out of hand by Evelyn. The is-he-or-isn’t-he question is answered sooner than Hitch might have done it, as India’s darkest instincts about Charles are confirmed by the end of the first half – though, unsurprisingly in this particular story world, this knowledge actually causes her to warm to him a little. (And only a little: when he mentions his desire to be friends, her typically pithy reply is, “We don’t need to be friends, we’re family.”) But there’s still plenty of mileage in Miller’s warped family melodrama, as the respective and inevitably linked uncertainties about Richard’s death and Charlie’s long absence are kept aloft, while Charlie’s gradual playing of India and Evelyn against each other adds queasy sexual tension to an already chilly mother-daughter relationship. Auds will either go with this festering hotbed of secrets, lies and severed heads, or tune out early, and even the faithful may debate whether or not Park, who otherwise oversees proceedings with amused precision, overplays his hand in the bizarre, bloody finale. Material this wild demands actors fully committed to the cause, and Park has found them, particularly in his two female leads. Kidman, here extending her commendable record of counterintuitive auteur collaboration, has such form in the area of passive-aggressive ice queens that her work here shouldn’t surprise, but the performance gets more bravely unhinged as it goes along, culminating in a spectacular Mommie Dearest tirade against her daughter that seems ripe for future impressions. Still, it’s Wasikowska’s film, and she shoulders it with witty aplomb: equal parts Alice in Wonderland and Wednesday Addams, her India is in constant, silent argument with the world around her. All the actors are given an invaluable assist from Kurt Swanson and Bart Mueller’s crisply tailored costumes, which are period-indeterminate even as the film is set in the present day. This kind of chic otherness is also at play in Therese De Prez’s superb production design: the Stoker family house, all angular architectural fittings and inventively distorted scale, is a creation worthy of prime Tim Burton . Park’s regular d.p. Chung-hoon Chung appears to be channeling photographer Gregory Crewdson’s eerily high-key Americana in his lighting schemes, while Clint Mansell’s characteristically rich, modernist score is embellished with haunting piano duets composed specifically for the film by Philip Glass. The repeated use of the Lee Hazlewood/Nancy Sinatra number “Summer Wine,” meanwhile, is typical of the director’s cockeyed take on American culture. Long may he continue to explore. Follow Movieline on Twitter.
“It just doesn’t matter,” Bill Murray pep-talked to his misfit campers in Meatballs . You’ve got to think that Teams Lincoln and Silver Linings Playbook similarly rallied the troops in the wake of Argo ’s surprise Best Picture and Best Director wins at the Golden Globes. Go home, they might have said, it’s the Golden Globes . It just doesn’t matter. Except that it does, contends In Contention ’s Kris Tapley: “Anyone who dismissively calls it a non-issue doesn’t get it. With six weeks, every little nuance and acceptance speech will be grist for the mill. It matters.” That means that Tommy Lee Jones better start smiling, Golden Globe-winner Anne Hathaway better keep all her acceptance speeches as gracious and humble, and Jennifer Lawrence better recover from her rivals-slamming turn hosting Saturday Night Live . But what matters more are the major Guild award ceremonies in the offing: The Producers Guild Awards on Jan. 26, the Screen Actors Guild Awards on Jan. 27, and the Director’s Guild Awards on Feb. 2. These should give a clearer picture of the Oscar race. Or not. A DGA award, one of the most reliable Oscar indicators, will come to naught should either Ben Affleck or Kathryn Bigelow , neither nominated for an Oscar, win. As Times-Picayune critic Mike Scott noted on NOLA.com, “Usually the Golden Globes at least do a little to clarify an Oscar race or two, but in what is shaping up to be a more difficult-than-usual year in which to predict the Oscar winners, Sunday’s Globes only clouded things… many of the Oscar races would appear to be coin-flip races at this point.” One thing is irrefutable after Sunday night: After Tina Fey and Amy Poehler ’s hosting triumph at the Globes, Seth MacFarlane needs to have better jokes than his Hitler gag on nomination morning. Best Picture No Best Picture-nominee had a better week than Argo with its seven Oscar nominations and Critics Choice and Golden Globe wins for Best Picture and Best Director . No Oscar nomination for Best Director; no problem. Writes Tom O’Neil on GoldDerby.com : “There is a clairvoyant member of the academy’s producers’ branch whose judgment I’ve learned to trust through the years. He’s never been wrong about Best Picture as far as I know, not even when Crash pulled off an upset over Brokeback Mountain . Now he’s backing Argo and feels very strongly about it. Right after Oscar noms were announced and before Argo pulled off those jaw-droppers at the Critics Choice Awards and Golden Globes, he roared at me, ‘Mark my words, Argo is going to win the Oscar. I don’t give a damn that Affleck isn’t nominated for Best Director. That only makes me more hellbent to vote for his movie!” But despite Argo being “back in the mix,” wrote Steven Zeitchik and Glenn Whipp in The Los Angeles Times , Lincoln , leading the pack with 12 nominations, remains the frontrunner. Or not. Silver Linings Playbook , like Lincoln , had a disappointing night at the Globes, but it is the first film since Reds at the 1982 ceremony to have received nominations for Best Picture, Director, all four acting categories, and screenplay. Plus: “People love Silver Linings Playbook ; they respect Zero Dark Thirty ,” write Michael Hogan and Christopher Hogan for their For Your Consideration blog on Huffington Post . Silver Linings Playbook producer Harvey Weinstein catered an Italian lunch for members of the Hollywood Foreign Press, the New York Times reported. Lincoln director Steven Spielberg pulled off the coup of getting the services of “Hillary Clinton’s husband” to introduce his film at the Golden Globes. Advantage: Spielberg. Like Tapley said: It matters. Meanwhile, Kathryn Bigelow, mired in the controversy surrounding her film’s depiction of “enhanced interrogation techniques,” gamely reiterated her “depiction is not endorsement” line of defense in a self-penned article in Wednesday’s The Los Angeles Times . 1. Lincoln 2. Silver Linings Playbook 3. Argo 4. Zero Dark Thirty 5. Life of Pi 6. Beasts of the Southern Wild 7. Les Miserables 8. Amour 9. Django Unchained Best Director With Affleck and Bigelow out of the Best Director race, Spielberg’s chances for a third Academy Award for Best Director are looking good, unless David O. Russell benefits from all that Academy love for Silver Linings Playbook . But don’t count out Ang Lee, noted Anne Thompson on her Thompson on Hollywood blog: “Lee survived the brutal directors derby that left Kathyrn Bigelow, Ben Affleck and Tom Hooper hanging, and he commands serious respect inside the Academy, which gave him the Oscar for Brokeback Mountain . Remember, these 5700 voters are people who know what goes into making movies and this gorgeously executed heart-tugger with worldwide appeal ($400 million and counting) had a high degree of difficulty.” 1.Steven Spielberg (Lincoln) 2. David O. Russell (Silver Linings Playbook) 3. Ang Lee (Life of Pi) 4. Benh Zeitlin (Beasts of the Southern Wild) 5. Michael Haneke (Amour)
Two Sundances ago Brit Marling mesmerized as the leader of a cult being infiltrated by two would-be documentarians in Zal Batmanglij ‘s Sound Of My Voice ; this year she returns to Park City as the infiltrator, playing a corporate operative who goes undercover within a volatile anti-capitalist eco-anarchist group in Batmanglij’s sophomore feature, The East . Hit the jump for a peek at the tense first trailer and let Ellen Page ‘s steely-pixie voice put you on edge. The East just debuted in Park City to mixed-positive buzz, with some critics praising Batmanglij’s yarn-spinning direction. Fox Searchlight has this pic and Park Chan-Wook ‘s Stoker at Sundance (both produced by the late Tony Scott ). As a fan of relative newcomer Marling I hope this one finds its footing, since Fox Searchlight is in the Brit Marling business but hasn’t yet been able to make her critically praised films ( Sound of My Voice , Another Earth ) into bona fide indie hits. That said, while The East packs more star power (Ellen Page, Alexander Skarsgård, Julia Ormond, Shiloh Fernandez, Patricia Clarkson, Toby Kebbell!) than Batmanglij and Marling’s previous collaboration the behind-the-scenes story of its creation is more of a curiosity factor. The action-mystery spy pic, reportedly shot for $6.5 million, according to Batmanglij, “came into being through our personal frustration with rampant consumerism and all the contradictions of living in modern civilization.” Per Fox Searchlight, co-writers Batmanglij and Marling found inspiration for their thriller after going off the grid on a “freegan” walkabout one summer, hopping trains and sleeping on the street and dumpster diving for food: “We had read about ‘Buy Nothing Day’ and tried it – there was something liberating about not buying anything for a day. So we thought we might try a buy nothing summer. We’d heard about the freegan movement – people desiring to live simpler, more community based lives. We wanted to know what that was like first hand,” says Marling. “Going weeks without spending a dollar is an amazing feeling,” the director says. “Everyone should try it. We didn’t see movies. We weren’t listening to recorded music. Everything was happening organically from the group. The spin-the-bottle game in the film came from an experience we had. Thursday nights that was what we did as a way of entertaining ourselves.” There were aspects of the transient life that took some getting used to, admits Marling. “I was a bit repelled at first about things like getting into a dumpster to look for food. But like Sarah, we learned there are packages of bread that have been thrown away because they’re past their sell-by date, but nothing is wrong with them. Much of our culture’s ‘waste’ is actually bounty. We slept 20 people to a room in sleeping bags on the floor. There were no showers, but after a while you learn your hair begins to clean itself.” I love Marling’s ballsiness. I have doubts about her hair maintenance tips. (But seriously, she has amazing hair, so…) Read more from the Sundance Film Festival : SUNDANCE: ‘Two Mothers,’ Two Secret Affairs And Uncomfortable Laughter SUNDANCE: Mother Pus Bucket! Michael Cera’s Not Sure He’d Take A ‘Ghostbusters 3’ Gig SUNDANCE: Directors Tease ‘Computer Chess,’ ‘Spectacular Now,’ ‘Emanuel And The Truth About Fishes,’ ‘Salma,’ And ‘Blackfish’ Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
There’s nothing like a good bit of alternate “What if?” casting to make you appreciate a movie whose stars’ chemistry works, so picture what might have been if David O. Russell had made his Oscar contender Silver Linings Playbook a few years back… with Vince Vaughn and Zooey Deschanel . “I wrote this five years ago and I rewrote it 20 times,” Russell told The Huffington Post . “And I thought I was going to make it with Vince Vaughn and Zooey Deschanel before The Fighter . And then it didn’t happen, for any number of reasons that were out of my hands.” Head here to read the full Silver Linings chat, in which Russell big ups stars Bradley Cooper and Jennifer Lawrence and offers little hope that we’ll ever see the infamously stalled Nailed . Meanwhile, as awards pundit Anne Thompson notes , Silver Linings is flagging in the crowded Oscar race after enjoying a burst of momentum in previous weeks. Maybe a celebrity endorsement from Oscar-winner Charlize Theron will help? Here’s Theron waxing enthusiastic over Lawrence in EW’s Entertainers of the Year cover story: “How is it that she can just stand there, not saying a word, and make us feel so much? Her talent is undeniable, and she is a force to be reckoned with.” Theron should know; she starred as the older version of a pre-fame, pre- Hunger Games Lawrence (or vice versa — Lawrence starred as the young Theron, opposite Revolution ‘s J.D. Pardo) in 2008’s The Burning Plain . [ Huffington Post , EW , Thompson on Hollywood ]
Spike Lee ‘s Oldboy is getting some bad ass company in the Park Chan-Wook remake business, as the Korean director’s ultraviolent femme-fronted Sympathy For Lady Vengeance , the third pic in Park’s Vengeance trilogy, will be remade into a Charlize Theron -fronted Americanized adaptation by Departed writer William Monahan. Theron (who will star and produce under her Denver & Delilah Films banner) joins forces with Oscar-winning screenwriter Monahan and superproducer Megan Ellison, arguably the ballsiest financier around; the actress has been trying to make Lady Vengeance for a few years now, but this update indicates it’s finally coming together. “This will be very American — and very unexpected,” Monahan said as the project was announced. “Park is a genius; it’s the Everest of adaptations and I’ve got blood in my teeth to do it.” I’ve got blood in my teeth to do it, Monahan says. IN A PRESS RELEASE. I’m usually skeptical when it comes to remakes — especially remakes of movies that are pretty awesome and bold in their original versions — but I can’t wait to see what he puts on the page. Watch the trailers for the original Lady Vengeance (English version and Korean version both below): Thoughts, Vengeance -lovers?
