The first time I came across a trailer for the Diane Lane/Thomas Jane/Mickey Rourke hitman thriller Killshot (only remaining on an AICN archive page and the errant DVD release), it was back in September of 2006. Since then, the Elmore Leonard adaptation has endured reshoots in January of 2007 and countless changes in release dates after that. Of course, there's also at least three test screening reviews that bring to light the entire removal of a character played by Johnny Knoxville from the film.

Now, not long after the Weinstein Company issued its latest round of supposed scheduling, Killshot's most recent date -- November 7, 2008 -- has been dashed away by this Los Angeles Times piece, and as pointed out, how does one struggle to release anything that John Madden, Anthony Minghella, Sydney Pollack and Quentin Tarantino all had hands in at some point? How does one struggle to even sell off domestic distribution rights to a film with this cast and that crew? The obvious answer is, of course, that the film is a downright dud, though the general pedigree and harshest reviews seem to suggest that it's not a total turkey.

The best-case scenario at this point is that the film rides the awards buzz of Rourke's performance in December's The Wrestler as suggested and gets a theatrical release in the early winter dumping grounds (through the Weinsteins' Third Rail arm, I'd bet), while the worst-case scenario is the film being directly downgraded to the level of a Blockbuster-exclusive curio. We shall see...

Take one renegade Japanese director, set him to work on a Spaghetti Western, add a cameo by a talkative American filmmaker, and what do you get? First place in the indie four-day weekend box office race. Sukiyaki Western Django, directed by the prolific and extremely versatile Takashi Miike and featuring Quentin Tarantino in a small role, tore it up at the single Manhattan theatre where it opened, grossing $13,100, according to estimates compiled by Box Office Mojo. The version released in the US does not represent Miike's original vision, however. Distributor First Look edited 20 or so minutes for the bastardized edition currently playing, so this is a muted triumph. *

The light-hearted I Served the King of England had the right stuff to average $8,487 per screen at eight locations. Directed by Jirí Menzel, the film stars Ivan Barnev, Oldrich Kaiser, and the always wonderful Julia Jentsch. Naked Penélope Cruz outdrew mostly-clothed Penélope Cruz, as Elegy bested Vicky Christina Barcelona on per-screen numbers, $5,697 to $5,102. To be fair, however, Woody Allen's latest is playing on nearly 700 screens and cracked the Top 10; it's made more than $13 million so far, though Elegy's $1.7 million is nothing to sneeze at in the specialty field. Right behind came two consistent cold-weather flicks, Frozen River ($5,028 per screen) and Transsiberian ($4,728). The more temperate Tell No One blew past $4 million in total US earnings in its ninth week, averaging $4,480 at 102 theaters.

Up next? Chris Smith's very good drama The Pool opens on Wednesday; Friday will see the release of Chris Eska's entrancing poetic drama August Evening, Jessica Yu's playful comedy Ping Pong Playa, romantic comedy Everybody Wants to Be Italian, thriller Mister Foe, drama Save Me, and the self-explanatory comedy/drama Surfer, Dude.

* UPDATE: A representative for First Look says that the company acquired the film after it had already been edited from 121 minutes to 98 minutes, and further states that Miike did the editing. My apologies for the error.

As a further aside, the original-length version screened at the Toronto International Film Festival in September 2007 and was released in Japan shortly thereafter.

Bastards, bastards, bastards! The best part about Quentin Tarantino appropriating the title for his upcoming movie from Enzo Castellari's high-energy original is that I get to satisfy my inner 11-year-old and tell you all about the latest Inglorious Bastards withour fear of recrimination from parental figures. Diane Kruger is the highest-profile new bastard, according to Variety, joined by Christoph Waltz and writer / actor / comedian Paul Rust.

Kruger, the hellenic beauty who first made a splash on these shores opposite Orlando Bloom in Troy -- which also starred soon to be chief bastard Brad Pitt as a bit of a heel -- will play Bridget Von Hammersmark (not "Hammer Snark," smart guy), a German actress. Kruger is fine casting since, of course, she is a German actress, and already has experience playing WWII theatrics with the flick Joyeaux Noël (Merry Christmas), but I'm sorry that Nastassja Kinski will not be playing the role. She's the kind of 40-something actor that could use a juicy role to remind people of who she is.

Waltz is an unknown quantity to US eyes, though he's done plenty of TV work in Germany. He snared the role of Col Hans Landa, the main Nazi antagonist, the part that Leonard DiCaprio was "in talks" to discuss. If nothing else, Waltz shouldn't have a problem with the accent. Paul Rust has written for Adult Swim's Moral Orel and MTV's Human Giant and appeared in Semi-Pro. Let me go out on a limb and guess that he's been cast -- as the comic relief? I'm sure somebody out there in Commenter Land has read the script and can guess for the rest of us.

The last weekend of the summer means the multiplexes will be crammed with Hollywood's leftover products, most of them rolled out without being screened for critics (never a good sign). But don't despair! The Indie Spotlight is here to fill you in on the limited-release, art-house films opening this weekend, and if they're not playing where you live, you can keep an eye out for when they do arrive. See, it gives you something to look forward to!

The six films opening today are, in alphabetical order: Ballet Shoes, I Served the King of England, My Mexican Shivah, Sukiyaki Western Django, Year of the Fish, and Young People F***ing. In a slightly more subjective order, here's the scoop on each of them.

Sukiyaki Western Django
What it is: A comedic Japanese tribute to the spaghetti Westerns, featuring Quentin Tarantino in a small role and directed by the twisted Takashi Miike.
What they're saying: The reviews are about evenly split at Rotten Tomatoes. Some say it's a one-joke movie that's all style and no substance; others say the sheer insanity of it makes it entertaining.
Where it's playing: New York City (Landmark Sunshine Cinema). Opens in L.A. on Sept. 12.
Official site: Taste the sukiyaki.

I Served the King of England
What it is: A comedy/drama about a man working at a fancy Prague hotel under the Nazis and then under the communists. It was the Czech Republic's official Oscar entry this year, though it didn't wind up getting nominated.
What they're saying: Every single review at Rotten Tomatoes is positive ("darkly humorous," "intelligent," "witty") -- every single review except for one, that is, by Jeffrey M. Anderson, who is also one of Cinematical's finest writers. Why you gotta be different, Jeff?
Where it's playing: New York City (Lincoln Plaza Cinemas, Quad Cinemas), Los Angeles (Laemmle Royal, Regency South Coast Village in Costa Mesa, Laemmle Playhouse 7 in Pasadena), San Francisco (Embarcadero Center Cinemas).
Official site: It's in English!

By chance, two Takashi Miike movies, Dead or Alive and Audition, opened in my town with in a week of one another in 2001. It was pretty eye opening seeing the huge difference between them, the speedy carnage of the former and the slow suspense of the latter, and I became an instant fan. Since then I've managed to track down just six more Miike movies, and in that same time he has made over forty (including videos and TV shows). The speed of his production fits perfectly with the personality of his movies. They're often nonsensical; I couldn't make heads or tails of two of his more recent pictures, Gozu and The Great Yokai War. And they're very definitely energetic, verging on crazy. He reminds me of the great German director Rainer Werner Fassbinder, who cranked out over 40 movies and TV shows in less than 15 years and died at the age of 37. Miike is now 48 and one wonders how much longer he can keep going before he combusts.

Miike's new movie, Sukiyaki Western Django, finds him making a slight change of pace. No, the movie is still crazy and fast and nearly unintelligible, but he has stopped for a moment to consider the work of other filmmakers. The movie is a tribute to Spaghetti Westerns, and especially Sergio Leone's A Fistful of Dollars (1964), which in turn was based on Akira Kurosawa's Yojimbo (1961). Remember Bono's taunt at the beginning of U2's cover version of "Helter Skelter"? ("This song Charles Manson stole from the Beatles. We're stealing it back.") This movie feels as if Miike is doing some stealing back of his own.

I like naked women, but that's not why I saw Hell Ride. Honestly, I had forgotten that naked women might be featured prominently. It was the motorcycles and the negative reviews from Sundance that hooked me (I'm a contrary fellow). I like 60s biker flicks, and because writer / director / co-star / Quentin Tarantino's friend Larry Bishop had been in some of them, I figured he could make an affectionate homage. Alas, while Bishop can indeed shoot the hell out of the motorcycle footage, it's the other 95% of the movie that's lazy and boring. What I learned: Bare breasts, slit throats, and roaring motorcycles do not a movie make, as I wrote elsewhere (in German). Also, I hate when critics are right.

Hoping to elevate my thinking, I happily joined friends for an afternoon screening of Love and Honor, a stately, well-composed drama that follows the plight of a samurai food-taster who goes blind. I never knew a samurai could be a food-taster, so that was educational, and I appreciated the (presumably) faithful historical depiction of a samurai marriage, which involves -- you guessed it! -- plenty of love and honor. Unfortunately, the combination of a turtle-like pace and too many beers the night before resulted in sonorous slumber (i.e. I was snoring like a Mack truck). What I learned: Don't see any movie described as "deliberately paced" unless you've ingested copious amounts of caffeine.

Later that night, horror flick The Signal definitely kept me awake with its razor-edged jumble of thrills, chills, and laughs. Despite a disappointing final 10 minutes, I really wish I'd listened to Scott and Eric D., who urged seeing this sick puppy in theaters. What I learned: Always keep a huge metal canister of bug spray handy.

What with the Olympics and the Batman and the pineapple express and the pants, you might be a little overloaded with things to watch this weekend. On the other hand, maybe you've seen all that and want something different. In that case, hooray for the Indie Spotlight! It's our weekly roundup of what's opening beyond the multiplexes, designed so movie fans can keep an eye out for those less-publicized titles.

There are eight indie films for you to examine this week: Beautiful Losers, Beer for My Horses, Bottle Shock, Elegy, Hell Ride, Patti Smith: Dream of Life, Red, and What We Do Is Secret. Here's the skinny on each of them.

Bottle Shock
What it is: A fictionalized account -- very heavily fictionalized, it would seem -- about the plucky California winery that managed to beat French wines in a blind taste test in 1976.
What they're saying: The reviews at Rotten Tomatoes are almost evenly split down the middle. My own take: It's the Two Buck Chuck of wine movies.
Where it's playing: Various places throughout Northern and Southern California, Seattle, Dallas, Houston, Atlanta, Detroit, Washington D.C., Philadelphia, New York City, and Boston.
Official site: Take a sip.

Hell Ride
What it is: Executive-produced by Quentin Tarantino, it's Larry Bishop's homage to the sleazy biker movies of the early 1970s.
What they're saying: They're saying they hate it. Ten of the 12 reviews at Rotten Tomatoes are negative, and that includes the two from Cinematical, by James Rocchi and yours truly.
Where it's playing: Quite a few cities, actually; check out the map here.
Official site: Hop on, easy rider.

UPDATE: Variety confirms today that Brad Pitt has officially signed on to star in Tarantino's Inglorious Bastards. In the flick, Pitt will play a "Tennessee hillbilly who assembles a team of eight Jewish-American soldiers." Eli Roth and BJ Novak are also signed on to star.

Originally posted July 7, 2008 ...

Quentin Tarantino is wasting no time getting Inglorious Bastards into production -- it may make Cannes 2009 after all! He's aiming now for an October shoot, his screenplay is apparently done, it's out to studios for financing, and now all he needs is his cast.

As of yet, there have been no official casting announcements, but according to The Hollywood Reporter, rumors are currently circling Brad Pitt's name. Frankly, the thought fills me with delight! Pitt does his finest work in edgier fare, and an appearance in a Tarantino-helmed movie (remember he played a role in True Romance, off a script written by Tarantino) seems long, long overdue. It would also bring his eerie career synchronicity with George Clooney full circle, wouldn't it?

The biggest question seems to be his schedule, which is jam packed with new babies, movies ( three of which he's starring in, eight that he is producing), publicity obligations, and his charity projects. I mean, he's trying to help rebuild New Orleans! Can he fit Inglorious Bastards in? October is not that far away.

Tarantino standbys Tim Roth and Michael Madsen have long been unofficially attached, and I have no doubt they'll make it legal before too long. I'd would love to see Harvey Keitel make an appearance too. And to have Pitt in the inglorious bunch seems so right.

Men on a mission! Naked women shooting machine guns! Wildly inappropriate hair styles! The recent arrival of Enzo G. Castellari's The Inglorious Bastards on DVD makes clear that the movie is an entertaining, stylish adventure in its own right, justly deserving its reputation as a Eurocult genre gem. Inevitably, it also prompts speculation about what exactly Quentin Tarantino will do with his upcoming version, especially since the DVD features an extended conversation between Tarantino and Castellari about their respective visions.

The 1978 original doesn't have a "bat-wielding Nazi hunter," as one character has been recently described in casting talks for Tarantino's version, though it is set in World War II France. Miscreant Bo Svenson and murderer Fred Williamson are headed to military jail when their convoy is attacked by the Germans. The handful of surviving deserters plan to escape to neutral Switzerland before they end up on a suicide mission for the Allies under the command of Colonel Bruckner (Ian Bannen).

The men take a jaunty trip through a cartoon wonderland constructed out of Hollywood fantasy and Italian wish fulfillment. The film only rarely intersects with real life, instead inhabiting a world of wisecracks and world-weary warriors whose guns never run out of bullets. Castellari is such a brilliant director, though, that The Inglorious Bastards fairly pops off the screen with energetic fervor in nearly every sequence.

As such, it serves as a fabulous blueprint that Tarantino has probably drawn upon, ripped apart, and reassembled.

Hell Ride is a deliberate, calculated throwback, referencing and recycling the cheapie bike-sploitation flicks of the '60s and early '70s as a band of burly brothers roar, rage and ride their way through the American Southwest on a rampage of revenge. Written by, directed by and starring Larry Bishop, Hell Ride thrums and roars with attitude; problem is, the drive shaft components of plot and character and logic just aren't there, meaning that even when Bishop hits the throttle, the roar and rattle can't hide the fact nothing's really happening.

Hell Ride revolves around a cycle gang known as The Victors, led by Pistolero (Bishop), with the tuxedo-shirt clad The Gent (Michael Madsen) riding on his right and recent inductee Comanche (Eric Balfour) an up-and-coming lieutenant in the organization, on his left. The Victors are trying to take care of business -- although what business it is they're in is never quite explained -- and the only thing interfering with that is Pistolero's obsession with righting the wrong done decades ago to Cherokee Kisum (Julia Jones), slain on the 4th of July in 1976. The Gent and Comanche are rubbed the wrong way by Pistolero's campaign of retribution, especially with the Six-Six-Six'ers and their kill-crazy leader Billy Wings (Vinnie Jones) edging in on Victors turf. ...

Now this is the kind of offbeat casting you expect out of Quentin Tarantino -- except that, really, it's not that unusual for him to cast his pals, so it makes a guy like Leonardo DiCaprio an edgier pick. Oh, that crazy Tarantino!

According to Variety, Eli Roth is set to play Sgt. Donnie Donowitz, "a baseball bat swinging Nazi hunter" in Tarantino's already much-discussed Inglorious Bastards. Brad Pitt is still "in talks" for Aldo Raine, but it would be a shocker if it wasn't official. Pitt and Roth, together at last, the pair-up the world never knew it wanted.

DiCaprio has gone from "in talks" to "eliminated." He was being considered for the part of SS Col Hans Landa, but Tarantino has decided that part should be played by a real live German. This is probably a good idea, as the last thing any film needs is a wonky accent. I do find it funny that when it comes to accuracy, this is one movie that is determined to have a real German, as opposed to the dozens of films that ignore portraying race, ethnicity, and culture!

The cast is expected to be formalized shortly, and filming to begin in Europe this fall. Given that Tarantino is looking to his friends to fill the empty slots, I am still betting Tim Roth and Michael Madsen will pop up somewhere. Who else do you expect to pop up in Bastards, readers? And what do you think of Roth's addition?

The casting rumors for Quentin Tarantino's Inglorious Bastards just keep circulating -- I'm dying for something to be confirmed, already! Brad Pitt was rumored to be in talks for the key role of Aldo Raine, and given that Tarantino flew all the way to France to meet with him suggests it's more than idle talk.

Now, according to Variety, Tarantino wants Leonardo DiCaprio to play Hans Landa, and is meeting with the actor on Thursday to discuss the part with him. This would be DiCaprio's first time working with Tarantino, and frankly, it would be a nice break from his Martin Scorcese trend. DiCaprio is another one of those actors with a pre-production list a mile long, so a scheduling conflict could manage to keep him out of the movie.

While I was really behind the idea of Pitt, I'm not sure how I feel about DiCaprio. Don't get me wrong, I really like him, but he's becoming the go-to guy for just about every film that's in production. Plus, Tarantino is pretty famous for his inspired and offbeat casting. Hiring two of Hollywood's golden boys (and I mean that in a nice way) seems a little pedestrian. But Tarantino is anything but predictable, and he can coax surprising performances out of all sorts of actors. What looks rather uninspiring from the outside could be one of his best ensembles yet. What do you think?

Sometimes I enjoy films with multi-layered stories and intricate characters, and then there are times when I just want to see people blowing sh*t up. I blame the testosterone. This week we've got five trailers that are all about the action.

Hell Ride
No, he's not directing, but Quentin Tarantino is producing this one which should turn a few heads, as will the fact that this is a red band trailer that earns its crimson hue. Three bad ass biker types played by writer/director Larry Bishop, Michael Madsen, and Eric Balfour are out for revenge against a rival gang for killing one of their bros. Dennis Hopper and David Carradine are in their too. The trailer embraces its b-movie action roots, not even caring that the shot of three figures nonchalantly walking away as a building blows up behind them has become something of a cliche. In his review of the film, Cinematical's Eric Snider makes the point that grindhouse style cinema is a niche market that appeals to a restricted number of people. True enough, though on a purely personal level, I'm a big fan of the old school grindhouse flicks and this looks like it's going to be pretty awesome.

The most unusual film projects pop up in the most unexpected of places. The quick-eyed gang at /film caught a chat between Billboard and The RZA in which the musican / actor dropped a hint about a movie project he was working on. "RZA has developed a martial arts film with Hollywood pal Eli Roth called The Man with the Iron Fist, which he says has "the blessing" of his 'teacher,' Quentin Tarantino."

The combination of those names with "martial arts film" is what had people buzzing. Or at least, those who were dedicated enough to be online providing movie news over the holiday weekend. (Salute them now.) CHUD's Devin Faraci decided to get to the bottom of the story, and e-mailed Roth to find out what was up. It's even cooler than the Billboard quote would have you believe. The Man with the Iron Fist was written entirely by RZA (and has nothing to do with the Marvel character of a similar moniker), and will be his directorial debut.

Quick, what do H. B. Halicki and Louis B. Mayer have in common? They both went "from junk cars to movie stars" as the poster for The Junkman put it; both were scrap merchants who got into the film business. Wrecking shop owner turned auteur Halicki's homebrewed hit Gone in 60 Seconds led the 1999 remake by Dominic Sena, who reputedly worked on the original The Junkman as a camera man. The Junkman, the follow-up to the original 1974 Gone in 60 Seconds, is an even more extravagant car-cruncher. It's a film that makes Tarantino's great car chase in Death Proof look like an also-ran. (QT refers to this original by having Kurt Russell's character keep a row of sunglasses on his dashboard, just like Halicki did.) The Junkman is an all-out demolition derby with Hoyt Axton providing the vocals, a co-starring role by a pet pig named Farah and a finale with the Goodyear Blimp buzzing the Cinerama Dome. As the price of a gallon of gas reaches the inevitable $5 mark, let us return to this uniquely decadent actioner.