Keith Calder

Magnet Releasing

Here’s the thing. It’s fashionable to bash remakes from their very first announcement as unnecessary and doomed to failure, but there have been more than enough good (and even great) ones to know that’s just dumb. No remake, whether good or bad, has the power to alter the original which will always be available to watch and enjoy. Of course, knowing that doesn’t change the knee-jerk reaction you feel when a particularly fantastic foreign film is snatched up and scheduled for American consumption. Kim Jee-woon‘s deliciously brutal I Saw the Devil has been on the path towards an English-language remake since its release in 2010, but details as to who would actually be involved have been up in the air until now. The Wrap just revealed — and producer Keith Calder confirmed via Twitter — that the team behind You’re Next and the recent The Guest will be writing and directing the film. Adam Wingard will direct from Simon Barrett‘s script, and while we’re still more than a year away from a finished product there’s reason to feel both excited and concerned… while still remembering that Kim’s original will always be here regardless.


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We’ve waited a long time to see You’re Next, an even longer time to see All The Boys Love Mandy Lane, and we’ll never get to see The Day the Clown Cried. While we tear-up about it, producer Keith Calder joins us to describe what it’s like to see something you made collect dust on a shelf even as people clamor for its release. He’ll explain one direction your luck can go in when your movie is being treated like a used mattress. Plus, Geoff and I daydream about movies that could have been amazing if they hadn’t burned in development hell and explore how to email a professional screenwriter looking for advice. You should follow Keith Calder (@keithcalder), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more fun stuff on a daily basis. And, as always, please send us your feedback. Download Episode #30 Directly Or subscribe Through iTunes


All The Boys Love Mandy Lane

In September 2006, Jonathan Levine‘s All the Boys Love Mandy Lane was part of the Toronto International Film Festival’s Midnight Madness slate alongside Bong Joon-ho’s The Host and Borat. Shortly thereafter it made the festival rounds, picking up some love and a distribution deal with Dimension Films. Then, nothing. It became a bit of an urban legend, taunting American horror audiences who wanted the Amber Heard-starring slasher roots flick to play near them. It screened in the UK in 2008, and those in the know took advantage of the Blu-ray import which propelled it toward moderate financial success. Then, nothing. In the meantime, Levine secured praise for The Wackness and went on to make the cancer comedy 50/50, and Heard broke out with Never Back Down and Pineapple Expresses, going on to a steady, eclectic career. Then, nothing. Until now.


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Movie theaters downloading their films from a secure studio-run cloud; inexpensive high-quality cameras at the fingertips of creators; fans as front-end financiers. It may represent 5 short years, but technology and culture are shifting so quickly that the movie world of 2017 has the potential to look radically different than our own. How will studios respond to an influx of independent films? Will a rejection of owning physical discs lead to a ballooning rental business? Will actors and creator be able to earn millions without stepping foot on a studio lot? We’ve asked Tugg CEO and Terrance Malick production partner Nicolas Gonda as well as savvy, forward thinking indie producer Keith Calder (The Wackness, The Greatest Movie Ever Sold, Thunder Soul) to mentally step into a time machine and report back on what that world might look like. From production to exhibition and everything in between. The only sure thing is that cars will be driving us to the theater themselves. And that Men in Black V is probably going to kick ass. Download Episode #145


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What is Movie News After Dark? It’s a nightly movie news collection that doesn’t usually involve so much nudity, or Dance Dance Revolution references, but Mondays are always a little special. We begin this evening with a new shot from The Hobbit, a film you may have heard about. It’s also a film that will undoubtedly be filled with little people, tall wizards, shires, middling earths and rings inscribed with “From Sauron, with love.” This one features Martin Freeman as Bilbo Baggins, standing amongst friends.



In October of 2011, Representative Lamar S. Smith (of the great state of Texas) introduced the Stop Online Piracy Act to Congress. The bill’s aim was to bolster copyright holders in fights against those that infringe upon them, and that’s an important task. Intellectual property theft can be incredibly injurious to the victim. In fact, FSR had to cut through red tape in the fall of last year to stop a Chinese-based website from stealing its content and republishing it wholesale. Plagiarism is despicable, and stealing the hard creative work of others is too. However, SOPA is tantamount to drinking drain cleaner because your nose itches. The bill is unduly generic – granting massive powers to the government and entities who would wield it like a plaything to shut down websites for spurious reasons and to keep them down throughout what would inevitably be a drawn-out legal process. In short, for an accusation with no meat on it, some of your favorite sites could be shut down on a whim, creating both temporary and possibly permanent damage. As you can see from our masthead today, we’re in full support of the protest against SOPA (and PIPA, it’s cousin in the Senate). While we don’t know how powerful the SOPA blackout might be, we genuinely wish we could go dark as well, but it’s just not feasible for a site like ours that operates on a smile and a shoestring. Losing a day of revenue is just too much of a […]



A young woman slinks downstairs in her underwear to fix another drink, recover from some bad sex and turn on some music. The secluded house far away from any city limit sign offers a perfect opportunity to crank of the volume without any close neighbors calling the cops. When her sugar daddy finds her dead body, he’ll also find a message for him scrawled on the sliding glass doors in blood. Thus begins You’re Next. This blood-splattered couple is just the appetizer though. The real focus of the film is a neighboring family that puts the “fun” back in “constantly bitching.” Paul Davison (Rob Moran) and Aubrey (the legendary Barbara Crampton) are father and mother to the brood. Drake (Joe Swanberg) is the ass-kissing mess stuffed into a turtle neck, Aimee (Amy Seimetz) is the perpetual Daddy’s Girl even in her adulthood, Felix (Nicholas Tucci) is the disaffected middle child of history, and Crispian (A.J. Bowen) is the ridiculously-named good son who acts as our entryway into a night that’s meant to celebrate 35 of marriage but will be invaded by figures in animal masks who only mean harm.


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This week, on a very special episode of Reject Radio, we spend some time outside the studio system with Bellflower writer/director/star Evan Glodell who talks about love and flamethrowers. Plus, we have a long-form conversation about film production with Greatest Movie Ever Sold producer Keith Calder and indie horror writer/producer Simon Barrett. Double plus, our very own Jack Giroux goes head to head with The Film Stage’s Jordan Raup in a Movie News Pop Quiz that leaves everything else in the dust. Listen Here: Download This Episode

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published: 02.01.2015
published: 01.31.2015
published: 01.30.2015
published: 01.30.2015

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