Phobos Plotline:

Rainy summer evening… Young people are arriving at the new trendy club named Phobos which is still under construction. Or re-construction – since it’s a former bomb shelter which is reconstructed to become a club. At first, the party sees nothing wrong, but soon the bunker doors turn out to be locked, and the teenagers get trapped underground without light and communication. At first, all of them are joking and do not realize how dangerous their situation is. Then they get frightened. All of them will need to cope with their fears before the bunker will let them free.

Directed by
  Oleg Assadulin

Writer
  Aleksandr Shevtsov

Producers
  Fyodor Bondarchuk 
  Dmitry Rudovsky 

Cast
  Agniya Kuznetsova
  Pyotr Fyodorov
  Petr Tomashevsky
  Timofey Karataev
  Aleksey Vorobev
  Tatiana Kosmacheva
  Renata Piotrovski

Cinematographer
  Aleksandr Burtsev

Click Here for Official Phobos website

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Mark Neveldine and Brian Taylor

By Nellie Andreeva – HollywoodReporter.com

The feature writing-directing team of Mark Neveldine and Brian Taylor are venturing into television with a one-hour project for NBC.

“Zeroes,” from Universal Media Studios and BermanBraun, is described as a high-intensity drama chronicling the last hour of a crisis situation.

BermanBraun approached Neveldine and Taylor with the idea to do “a crisis show that doesn’t bore you with all of the buildup leading to the crisis,” Taylor said.

“We want to drop right into it and sustain the absolute most berserk state of crisis, when all of the options have been exhausted,” he said. “We want to take that last 60 minutes and sustain it for the entire show.”

“Zeroes” refers to a fictional team of guys called in as a last resort who are “absolutely ruthless” in their use of force, Taylor said.

Neveldine and Taylor are writing the script. The two also are on board to direct the potential pilot.

In doing so, they plan to use their film experience.

“We came out of guerrilla filmmaking,” Taylor said. “We learned how to work superfast under pressure, generating a lot footage on a small budget.”

UTA-repped Neveldine and Taylor wrote and directed “Gamer,” “Crank” and “Crank: High Voltage.” They most recently wrote the screenplay for “Jonah Hex,” which is being directed by Jimmy Hayward.

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Russ Fischer – SlashFilm.com

Little over a month ago we told you that rights for the Terminator franchise were probably going to hit the auction block to pay off debts for the Halcyon Holding Group, which bought the rights in 2007 for $25m. Now that has come to pass. Rights to the series are for sale, and the list of interested bidders is long and, for the most part, not at all surprising.

Nikki Finke reports that every big Hollywood studio is interested in the purchase, as are Summit and Media Rights Capital. Sony has the greatest interest, she says, as the auction is prepped for later this month. The package to be sold is fairly complete, as it includes the rights to “new Terminator films, TV program and other spin-offs.” (Video games? One would assume so, and perhaps this sale will lead to the eventual release of a decent licensed Terminator game.)

Can’t wait to see what someone pays for this. Again, Halcyon picked up the rights for $25m two years ago, and Terminator: Salvation has done $380m worldwide. Not the smash that was expected, and quite obviously not the one that was needed, given that Halcyon immediately went into Chapter 11 once the film was done. What’s the series worth, then? Halcyon’s Derek Anderson and Victor Kubicek have claimed the package is worth up to $60m now, but that seems exorbitant.

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From ReelzChannel.com

The superhero Green Lantern is not as well-known as some of DC Comics’ other characters like Superman and Batman, but Warner Bros. is banking on director Martin Campbell (Casino Royale) and lead actor Ryan Reynolds changing that when the live-action Green Lantern movie hits theaters.

So far, Reynolds is the only actor cast in the movie, and principal photography isn’t expected to begin until March. However, that doesn’t mean that work on the movie hasn’t already begun. In a recent interview with Empire, Campbell said that there will be roughly 1,300 visual effects shots and that “the process” of coordinating all of those shots is both “daunting” and “mind-blowing.” He said that most of the effects revolve around the source of Green Lantern’s super powers, stemming from his power ring.

Campbell added “It’s energized by a battery on the planet of Oa, which taps into the willpower of everyone in the universe. From that ring you can form constructs. So if you got into a fight, you could form a giant fist. Or a fighter plane.”

Clay Pinney is the special effects supervisor. Mr. Pinney is known for his work in such films as Independence Day, The Matrix Reloaded,  Star Trek, Angels & Demons as well as Speed Racer.

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by Russ Fischer – SlashFilm.com

We don’t know a lot about this project yet, but buried in a trade break about Denis Leary’s production shingle Apostle Films, which is developing a bunch of new shows to prepare for Rescue Me’s scheduled 2011 end point, there’s an interesting piece of detail. The company has bought the rights to Gattaca, Andrew Niccol’s 1997 sci-fi film, and will develop it as a television series.

Variety specifically says this: The company has secured the rights to the feature film Gattica [sic], which they plan to develop as a one-hour police procedural set in the future. The Gattica smallscreen adaptation will be written by Gil Grant and is being developed through Sony TV’s international division.

OK, setting aside the misspelling, that’s a weird bit of news. Gattaca, which created a society in which DNA determines a person’s place in society,  was a film about human determination and ability, class and discrimination. The police are involved in the film, yes, but the fact that Ethan Hawke’s character breaks the law in order to impersonate a genetically superior individual is only part of the point.

What will the throughline of the show be, then? Cops investigating similar crimes, pursing and looking into the lives of  in-valids, or possibly investigating situations in which genetic discrimination, which is technically illegal in the film’s storyline, is used against lower classes? Given the film’s content about discrimination I can see where one might think there’s a TV show to be extrapolated, and maybe a police procedural seems like the best way to go about it. But the angle still doesn’t seem like something strong enough to generate more than a season or two.

I also don’t know a lot about Gil Grant, the writer currently tasked with adapting. IMDB says he’s been on shows from Eight is Enough to 24, but aside from his work on 24 and the short-lived series The Cape, not a lot stands out. And if you’re wondering whether Leary might be cast in the show, so are we. Apostle is looking for another starring series for him, but there’s no suggestion that this would be it.

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Haruka Ayase

By Adam Wing – 24FramesperSecond.net

Had someone told me this morning that later today I would be watching a new Japanese movie that sits somewhere between Pretty Woman and Terminator, I’d have politely asked them what it was they were smoking. But here it is folks, a rom-com sci-fi movie from the director of My Sassy Girl and Windstruck. Jae-young Kwak introduces us to a lonely young man who falls in love with an emotionless cyborg, Jiro (Keisuke Koide) is celebrating his birthday alone when he crosses paths with a mysterious young beauty and after spending the evening together the girl vanishes without a trace. Jiro’s life has been pretty dull up to this point, and he knows that whatever happens, he’ll never be able to shake that girl or the night they spent together.

Exactly one year later, he returns to the same restaurant and the girl reappears to celebrate his twenty-first birthday. But something is different this year, as Jiro discovers when an assassin forgets his table manners and starts shooting the place up. Jiro’s life is saved by the woman of his dreams, and it’s here that traumatised boyfriends of the world can unite, because the great thing about Cyborg She is that it takes its sci-fi just as seriously as it’s romance, which means Jae-young Kwak may have inadvertently created the perfect date movie. Action, romance, comedy and sci-fi, what’s not to love?

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By James Mudge – BeyondHollywood.com

More Japanese gore madness arrives from 4Digital Asia in the shapely form of “Samurai Princess”, the cover art not coincidently bearing a striking resemblance to that of its recent sister in slaughter, “Chanbara Beauty”. The film’s pedigree should certainly give fans of the form reason to be excited, with it having been directed by Kengo Kaji, the co-writer of “Tokyo Gore Police”, and featuring effects by Yoshihiro Mishimura, the director of said genre highpoint. Also likely to be of no small enticement is the presence of AV actress Aino Kishi in the lead role, with support from fellow AV star Mihiro (recently in the horror “The Cruel Restaurant”).

Aino Kishi plays an android killing machine stitched together from the parts of eleven young girls who were raped and killed by a particularly nasty gang of miscreants. Brought back to life by a mad scientist, she sets off on the usual revenge spree, slicing and dicing her way through hordes of strangely clad enemies and bizarre villains.

Aino Kishi

Given its director and the involvement of Yoshihiro Mishimura, most viewers should know well in advance whether or not “Samurai Princess” is likely to be a film for them. For those who don’t, or for the curious, the first 5 minutes of the film will make things abundantly clear one way or the other, featuring such delightful scenes as the heroine removing a man’s brain to quite literally read his mind and her detaching her breasts to hurl at her enemies. Certainly, the film is bloody even by the standards of the genre, packing in an impressive amount of dismemberment, evisceration, mutilation and shots of characters being torn apart by freakish villains with weapons for body parts.

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Danny Dyer

By Sarah Cooper – ScreenDaily.com

Principal photography is under way on psychological horror Basement, starring Danny Dyer, at Pinewood Studios.

Written and directed by first time feature film-maker Asham Kamboj, it tells the story of five people who inadvertently enter an underground base and run into a nightmare scenario.

It is the first feature project to come out of Paperknife Productions, which is based at Pinewood studios and is co-owned by Kamboj and businessman turned producer Ish Jalal. Terry Stone’s Gateway Films is also onboard as associate producer.

Asham Kamboj

Made on a budget of approximately $1m (£600,000), the film is entirely funded by private investors and Revolver Entertainment, who pre bought UK and Eire rights for the film. The project is due to be released in the UK next spring.

“[Revolver] just loved the script and were really excited about it,” said Jalal, who also had an offer from Sony Pictures, but chose Revolver because they guaranteed theatrical release.

The film is shooting for three weeks at Pinewood, and seven days on location in and around the studios. Post production will also take place at the studio.

Other cast members include Kierston Wareing, who was recently nominated for a British Independent Film Award for Fish Tank, Emily Beecham and Jimi Mistry.  

According to producer Jalal, Basement shows off a different side of Dyer. “He’s vulnerable, he cries. It’s not what you expect of Danny, and it’s been a real surprise to a lot of people working on the film. He’s really good.”

Meanwhile, Paperknife is currently looking for studio funding for their next project another psychological thriller, Kamera, which has been in development for three years and will also be directed by Kamboj.

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