Remember when Christian Bale got all freakishly skinny for The Machinist? Like, so freakishly skinny that the dude's body was caving in? Yeah, we do too. But fortunately, we remember how awesome a movie The Machinist was as well.
Now it appears that same team is coming together again. We Got This Covered reports that, while interviewing The Machinist's director Brad Anderson about his next project Concrete Island -- an adaptation of J.G. Ballard's novel, he revealed that Bale will be starring in the film with The Machinist writer Scott Kosar adapting the screenplay. According to the interview, here's the exact quote:
"I’ve got another project that Scott Kosar, the writer of The Machinist is writing. It’s based on J.G. Ballard’s novel called Concrete Island. It’s an urban survival story that Christian Bale is attached to be in."
For those unaware, the story of "Concrete Island" follows a wealthy architect named Robert Maitland who's stranded on a manmade "island," which, in reality, is a fenced-off area in the middle of a speedway. But as things progress, Robert suddenly finds himself wondering what's real and what isn't. So, um, pretty much, it's The Machinist? Hopefully, though, things are a little less gross.
Source: We Got This Covered
The original owner of the Amityville Horror house has blasted the remake of the
movie after producers refused to call on his services as a consultant.
George Lutz was the victim of the real-life horror tale about the possessed
New York state home, and turned his terrible tale into a cult book, on which
the original 1979 film was based.
But Lutz is far from impressed with the new Andrew Douglas film, which comes out this weekend, claiming the director ignored his offers of help and, as a result, has made a purely fictional film.
Lutz tells movie website MovieHole.Net, "I was excluded from any
participation that might have allowed for accurate depictions in this film.
"There is a craft to acting... Some actors are more serious about their art.
They take time to research a part. In the case of retelling an actual event,
they look into the history and research the people involved. That just didn't
"Based on what I've read from his interviews, this kid (Scott Kosar) thinks
his script is the true story because that's what he's been told. He's quite
happy to look no further than that."
"A tremendous disservice has been orchestrated here. The filmmakers have
fabricated many incredibly inaccurate statements made during promotion
interviews and press packs. These serve to misinform with a drivel that is pure
sophistry. I am appalled at the lack of personal integrity in the name of hype
"This (film) is supposed to be about my family and the 28 days we lived in
the house, instead it is something formed in the minds of others not concerned
with anything more than box office numbers and self import."
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Does hell exist or do we create our own? This is the larger question screenwriter Scott Kosar asks as we watch machinist Trevor Reznik (Christian Bale) stumble through his disintegrating world in this psychological thriller inspired by introspective mindbenders like Roman Polanski's The Tenant and Wim Wenders's The American Friend. From the moment we glimpse Trevor's freakishly emaciated frame it's obvious that something is eating him away from the inside the same thing responsible for his chronic insomnia. With apparently no Nytol or sleep aids available in his zip code a strung-out Trevor continues working at a dangerous industrial facility until he causes an accident that costs a coworker his arm. When no one recalls the imposing bald man whom Trevor claims distracted him during the incident he is ostracized by his coworkers and ultimately fired. He tries to find comfort in a sympathetic hooker (Jennifer Jason Leigh) who has fallen in love with him and a kind waitress and single mom (Aitana Sanchez-Gijon) who works at his favorite all-night diner but even they offer little solace as his paranoia mounts. What is real what is memory and what is imagined? Trevor clings to the last shreds of his sanity before he finally faces the truth about the only demon that matters--the one with the tortured face staring back at him in the mirror.
Christian Bale is one of the finest actors of his generation and as evidenced by his total immersion in this role the most committed. After having seen Bale's buff physique on display in movies like American Psycho and Equilibrium he is a fright to behold after losing 63 pounds with concave stomach protruding ribs and hipbones jutting out like handlebars. "I could make a whole other movie on the subject of guilt just from my experience of watching this man reduce himself to 120 pounds " says director Brad Anderson. Bale who claims he simply stopped eating for the role was attracted to the character because Trevor is a man stripped to his bare bones literally and otherwise. "Trevor is consumed with anxiety and lives with this intense fear that something awful is always just about to happen " says Bale. "He fears he's the butt of some great cosmic joke. We all know how powerful a combination sleep deprivation and suppressed emotion can be. It takes him to places that are terrifying and monstrous but also incredibly revealing." In supporting roles Jennifer Jason Leigh revisits the damaged-goods gal she does so expertly and Spanish actress Aitana Sanchez-Gijon provides the only soothing visage in the film's grim landscape.
If you've seen Brad Anderson's creepy Session 9 you know the director has a talent for building a sense of quiet dread. The same can be said of The Machinist where everything from a ticking clock to a hangman game on Post-It notes starts to seem menacing. Inspired by the camera angles of Hitchcock the surrealism of German Expressionist films like Nosferatu as well as film noir Anderson constructs a muted washed-out shadowy world for his ghostly main man to haunt. "I wanted the movie to feel out of time other-worldly from a different era or place " says Anderson. "You never quite get a grip on where or when in time things are happening and that was intentional. It's a modern Kafkaesque world a nightmare dreamscape that draws horror from everyday existence."
No pun intended but this remake of Tobe Hooper's low-budget 1974 cult horror film The Texas Chainsaw Massacre cuts straight to the chase and goes right for the jugular. The result is a horror movie bloodbath with jolting scares guaranteed to shock moviegoers out of their seats and onto sticky theater floors. Like the first the remake is set in the early 1970s and follows five friends on their way to a Lynyrd Skynyrd concert in Dallas after making a drug buy in Mexico. Their fates are forever changed when they pick up a hitchhiker who commits suicide in the back of the van. In desperate need of a solution to the dead girl in the car the quintet stumbles upon a dilapidated house in a rural Texas community inhabited by Thomas Hewitt (Andrew Bryniarski) and his strange extended family. Hewitt receives the group led by Erin (Jessica Biel) revving a chainsaw--and suddenly their aspirations go from catching a performance of "Free Bird" to leaving the house with their limbs intact. This is supposedly based on the true story of Plainfield Wisconsin's cannibalistic grave robber Ed Gein which is precisely what makes this film so entrancing. If horror movies are designed to brutally assault not only the victims on-screen but also its viewers then TCM succeeds.
Biel 21 first impressed viewers on the WB series 7th Heaven with her portrayal of Mary Camden the eldest daughter of a progressive minister. As Erin in TCM Biel emerges as a strong lead and it's refreshing to see a horror movie heroine who never twists her ankle in a pivotal chase scene doesn't scream unnecessarily and knows how to hotwire anything on wheels. This role should definitely prepare Biel for her next project playing vampire hunter Abigail Whistler alongside Wesley Snipes in the upcoming Blade 3. While Biel carries the film there are also some decent performances from Eric Balfour (levelheaded Kemper) Mike Vogel (Andy the drunk) Erica Leerhsen (slutty Pepper) and Jonathan Tucker (STD statistic-spouting nerd Morgan). They all have clichéd characteristics that serve to create tension and each rises to the occasion in their limited screen time. At 6'5" Bryniarski (Scooby-Doo) is tailor-made for the role of the enduring yet no less frightening Leatherface. There are also some smaller performances worth noting from R. Lee Ermey (Willard) as the demented Sheriff Hoyt and Heather Kafka as the trailer park baby-thief Henrietta.
Music video helmer Marcus Nispel chose a doozy of a film for his directorial debut. Director Hooper's '74 slasher pic influenced a slew of contemporary horrors including House of 1 000 Corpses Jeepers Creepers and Wrong Turn and it remains to this day a highly romanticized and over-analyzed film. Some for example maintain that Hooper's TCM was a sociopolitical allegory of post-Vietnam America. But although Nispel's setup is practically identical to Hooper's there is no profound message here. Scribes Scott Kosar and Eric Berny do slip in a psychological explanation for Hewitt's wrath by giving him a skin condition that left him without a nose and ostracized as a child which is why he collects body parts and makes masks out of his victims' faces--hence the nickname "Leatherface"--but in the end it's just an entertaining slasher pic. Half storytelling half mood music intensive and richly atmospheric TCM has great visual appeal although some of it is undercut by some of producer Michael Bay's trademark bullet path shots. Nispel's music video background is pervasive in the film's visual MTV-style narration which is fitting for a film aimed at the 15- to 25-year-old TV watching audience.