Film bosses behind spooky hit The Woman In Black are set to remake classic horror movie The Abominable Snowman. The original 1957 film, which starred Peter Cushing, focuses on a scientist's search for the mythical Yeti.
Chiefs at Britain's rebooted Hammer film studios have now announced plans for an updated version of the iconic movie, which will be penned by screenwriters Matthew Read and Jon Croker.
The project comes after Hammer Horror scored a huge hit with The Woman in Black, starring Daniel Radcliffe, last year (12).
Hammer president Simon Oakes says, "The success of The Woman In Black has shown that there is an appetite for quality horror films, so it is exciting to draw on Hammer's unparalleled source material in this genre which can be re-imagined and updated for a new audience."
The production company, famous for classic movies including The Curse of Frankenstein and Dracula, was brought back to life in 2008 after a 30-year absence.
After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
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The Woman in Black was a turning point for Daniel Radcliffe. His first post-Potter role would be a litmus for star potential, an indicator on whether the actor had continued box office draw without his boy wizard brand. Radcliffe quickly put skeptics to rest: the supernatural horror outing went on to be a huge success, grossing a sizable $21 million opening weekend in the U.S., and going on to be the highest grossing British horror film of the last twenty years with a total of $120 million.
With those numbers, a follow-up was a sure thing, and now the creative team from the first film have announced the sequel, The Woman in Black: Angels of Death is moving forward. Author Susan Hill, WIB story editor Jon Croker and Hammer Films have all joined the project, but Radcliffe's return is noticeably missing. Unfortunately, working him into a new movie might be a little tricky.
According to the announcement, the new movie will take place 40 years after the original and follow a new couple arriving at the Woman in Black's creepy Eel Marsh House mansion. Anyone who has seen the first first movie will know [SPOILERS] Radcliffe didn't survive his outing with the perturbed ghost, which would automatically leave him off the casting list for a sequel. Then again, it is a ghost story and the dead have a tendency to pop back up. Cameo?
Aside from logistical concerns, Radcliffe has made his ambition for big screen diversity clear. In an interview with Hollywood.com during The Woman in Black press tour, the young star made it clear that he was on looking for a "great part with some really big acting challenges." A sequel may not fit the bill for his long-term plans.
But The Woman in Black: Angels of Death, Radcliffe-less or not, will be a priority for those involved, and casting news should be creeping out of the shadows sooner rather than later.
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