Graham And Pharoah Bring Bonekickers To The BBC

Source: BBC

From the multi-award-winning co-creators of Life On Mars and Ashes To Ashes comes a new BBC One drama that is groundbreaking in every sense.

Bonekickers is a highly original six-part series about a dynamic team of archaeologists, led by Professor Gillian Magwilde (Julie Graham) and featuring Dr Ben Ergha (Adrian Lester), Professor Gregory Parton (Hugh Bonneville), Viv Davis (Gugu Mbatha-Raw) and Professor Daniel Mastiff (Michael Maloney).

Set against the backdrop of Bath, a city steeped in 3,000 years of history, each week the team uncovers a compelling mystery from the past that tells viewers something profound and revelatory about the present. Archaeology has never been so dramatic.

Julie Graham (Dalziel & Pascoe, William And Mary) is Gillian, a feisty Celt who heads up a team of archaeologists, working out of Wessex University.

Adrian Lester (Hustle, Ballet Shoes) is Dr Ben Ergha, a forensic expert who brings an objective understanding to the team, Hugh Bonneville (Miss Austen Regrets, Tsunami, Filth) is the encyclopaedic but terminally louche Professor Gregory Parton and Gugu Mbatha-Raw (Spooks, Trish Jones in Doctor Who) is the eager, young, post-grad intern, Viv Davis.

As a team their skills combine under a variety of imperatives to extract bodies, books, weapons and all manner of artefacts which lead them into an investigation of the past that will unlock dangers and mysteries in the present.

From the excavation of murdered 18th-century slaves to the possible discovery of the True Cross, each episode is a window on a period of history but, more importantly, a reflection on how we live now.

Running through the series is a greater puzzle that Gillian keeps to herself for fear of ridicule: the hunt for the greatest treasure in the history of Humankind, a hunt that drove her brilliant mother insane and a hunt that pits her wits against her academic nemesis – the arrogant, urbane TV historian, Professor Daniel Mastiff, played by Michael Maloney (The Forsyte Saga, The Jury, Truly Madly Deeply) – and that will culminate at the end of series one in a desperate race for glory which may destroy her in the process.

From Matthew Graham and Ashley Pharoah (Monastic Productions), the writers and creators of the hit series Life On Mars and Ashes To Ashes, and Michele Buck and Damien Timmer of Mammoth Screen, Bonekickers is a thrilling adventure series packed with historical mystery and contemporary relevance.

Based in fact, the series has on board the expertise of Professor Mark Horton, Head of Archaeology at Bristol University, a specialist in the archaeology of historical societies around the world and Bonekickers consultant on the factual evidence and background to the relics featured in each episode.

Polly Hill, BBC Commissioning Editor for Independent Drama, says: "This is an exciting, bold, new series for BBC One, from the wonderful Matthew Graham and Ashley Pharaoh.

"They have created a contemporary show, which brilliantly brings history to life – our archaeologists investigate huge mysteries that may start in the past, but which are very much still alive and dangerous today.

"As you would expect from Matthew and Ashley, this is a challenging unique format, which has attracted a wonderful cast."

Bonekickers is produced by Rhonda Smith (Fairy Tales, Marie Lloyd) and executive produced by Matthew Graham and Ashley Pharoah of Monastic Productions and Michele Buck and Damien Timmer of Mammoth Screen.

The drama is commissioned by Jane Tranter, Controller, BBC Fiction.

Never forget ... history is now!

Tarantino Wants Patrick To Go From Porn To Pussycat

Written By: Ken Hulsey
Source: WENN

Director Quentin Tarantino is really jonesing hardcore to get big breasted adult film star, Tera Patrick, cast in his remake of the 1966 cult classic "Faster, Pussycat, Kill! Kill!". Sources close to Tarantino have been quoted as saying, "Quentin loves her, and she's a dead ringer for original star Tura Satana." Indeed Patrick doe resemble Santana, and a film about three busty women on a cross-country murder spree, would seem to be right up her alley. The only real question would be, "can she act?" It is obvious that her ample proportions are perfect for the part, but can she deliver lines? Time will tell.

It will appear that Tarantino won't have to try too hard to get Patrick excited about the part, apparently she has already learned of his interest. The chesty miss Patrick had this to say on the subject, "It would be the hottest remake ever, and I'm honoured to be considered. I was built for this part." Indeed that appears to be true.

Lets just say that if Tarantino wants her, and she wants the part, then this should be a slam dunk. All that seems to be standing in the way of this one is the paperwork.

Heading Off To G-FEST XV!

I'll be heading off to G-FEST XV in Chicago (actually Rosemont, Illinois next to O'Hare International Airport) this coming Wednesday. I don't expect to get there until around 7:00 PM local time.

It will be interesting to fly during this energy crisis. What charges the airline (American Airlines) will be charging me for? How many check-in bags are allowed without charge? Any charge for carry-on? What's the charge for food and drinks? This'll be very interesting.

Wednesday will be generally free, although we'll be having the mini-film festival that day starting with Matango at 1:30, followed by Destroy All Monsters at 3:00. Then, a break for a few hours before Godzilla vs. Gigan at 7:00, which will be followed by Orochi, The Eight-Headed Dragon at 8:30. The only film I am particularly interested in seeing is Orochi, so maybe this time I will spend the day down in downtown Chicago. I've been to every G-FEST in Chicago since 2002 and never visited downtown or the waterfront of Chicago. Maybe this time I finally will (on clear days, one can see the Sears Tower in the distance from the hotel).

Friday is when the convention actually starts, so I'll be kept busy through Sunday.

Sunday's highlight for me is the awards luncheon where Haruo Nakajima will finally be awarded the Mangled Skyscraper Award for his career as a monster suit actor. This has been something I've been nagging "the powers that be" for the past several years.

It will be interesting to see and meet Don Frye (poor guy, he's almost been forgotten over the excitement of Nakajima's long-awaited return to G-FEST) from Godzilla Final Wars. Don Glut, last year's Mangled Skyscraper awardee and August Ragone, the author of Eiji Tsuburaya: Master of Monsters (if you haven't bought this book yet, you should) are also going to be on hand for the convention with their own sessions. August will gladly sign your copy. Great book, with lots of information and photos!

I'll be returning to Los Angeles on Monday, July 7 and reality. I will be bringing my laptop to the convention, primarily for downloading photos from my camera to clear out the data card and to assist one of sessions (sure hope my Power Point works).

See ya when I get back!

Rose McGowan Goes From Barbarella To Red Sonja

Grindhouse star Rose McGowan and her director boyfriend are set to revive Brigitte Nielsen's Red Sonja in a new movie.

The actress and Robert Rodriguez have confirmed they're planning a major remake of the 1985 big screen adaptation of the comic book series, in which Nielsen played a bikini-clad, sword-wielding barbarian vixen.

And even McGowan, who played a one-legged zombie killer in Rodriguez's Planet Terror Grindhouse film, admits she's surprised the Red Sonja role is hers.

The script was sent to her and she admits she had no idea why she had been selected to play the new Sonja.

She tells USA Today newspaper, "I thought it was funny. I do have a body made for sitting on a veranda with mint juleps and a parasol. I don't know why I always have to save the planet."
But Rodriguez insists his partner is perfect for the role: "Rose is a pistol. She's whip-smart, has attitude to burn, is sexy, extremely strong, yet has a vulnerable side that would surprise her closest friends. That description also fits Red Sonja."

Last year McGowan and Rodriguez tried to work together on a remake of the 60s' sexy sci fi film "Barbarella." Universal pulled the financing for the film when Rodriguez insisted that McGowan fill the title role that Jane Fonda made infamous. The studio believed that the young starlet didn't have what it took to carry the lead role in such a big budget movie.

Apparently there is another studio out there that believes McGowan will be a bigger box office draw than Universal did.

Wall-E (2008)(Disney/Pixar)

Source: Disney

What if mankind had to leave Earth
and somebody forgot to turn off the last robot?

That’s the intriguing and whimsical premise posed by Disney•Pixar’s extraordinary new computer-animated comedy set in space, “WALL•E.” Filled with humor, heart, fantasy, and emotion, “WALL•E” takes moviegoers on a remarkable journey across the galaxy and once again demonstrates Pixar’s ability to create entire worlds and set new standards for storytelling, character development, out-of-this-world music composition, and state-of-the-art CG animation.
Set in a galaxy not so very far away, “WALL•E” is an original and exciting comedy about a determined robot. After hundreds of lonely years doing what he was built for, WALL•E (Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life (besides collecting knickknacks) when he meets a sleek search robot named EVE (Extra-terrestrial Vegetation Evaluator). EVE comes to realize that WALL•E has inadvertently stumbled upon the key to the planet’s future and races back to space to report her findings to the humans who have been eagerly waiting aboard the luxury spaceship Axiom for news that it is safe to return home. Meanwhile, WALL•E chases EVE across the galaxy and sets into motion one of the most incredible comedy adventures ever brought to the big screen.

Joining WALL•E on his fantastic journey across the universe 800 years into the future is a hilarious cast of characters, including a pet cockroach and a heroic team of malfunctioning misfit robots.

“WALL•E” is the latest film from Academy Award®-winning director/writer Andrew Stanton, who joined Pixar in 1990 as its second animator and the fledgling studio’s ninth employee. He was one of the four screenwriters to receive an Oscar nomination in 1996 for his contribution to “Toy Story” and was credited as a screenwriter on subsequent Pixar films, including “A Bug’s Life,” “Toy Story 2,” “Monsters, Inc.,” and “Finding Nemo,” for which he earned an Oscar nomination as co-writer. Additionally, he co-directed “A Bug’s Life,” executive-produced “Monsters, Inc.” and the 2007 Academy Award®-winning “Ratatouille,” and won an Oscar for Best Animated Feature for “Finding Nemo.”

The idea for “WALL•E” came about in 1994 at a now-famous lunch that included Pixar pioneers Stanton, John Lasseter, Pete Docter, and the late storytelling genius Joe Ranft. With their first feature, “Toy Story,” in production, the group suddenly realized that they might actually get a chance to make another movie. At that fateful gathering, the ideas for “A Bug’s Life,” “Monsters, Inc.,” and “Finding Nemo” were first discussed. “One of the things I remember coming out of it was the idea of a little robot left on Earth,” says Stanton. “We had no story. It was sort of this Robinson Crusoe kind of little character—like, what if mankind had to leave Earth and somebody forgot to turn the last robot off, and he didn’t know he could stop doing what he’s doing?”

Years later, the idea took shape—literally. “I started to just think of him doing his job every day and compacting trash that was left on Earth,” Stanton recalls. “And it just really got me thinking about what if the most human thing left in the universe was a machine? That really was the spark. It has had a long journey.”

The image of a lonely little robot—the last one on the planet—
methodically going about his job picking up trash intrigued director/co-writer Andrew Stanton from the first time it came up over lunch with his colleagues back in 1994. It would be many years before he would find a unique story that could use this character to its full potential.

Stanton explains, “I became fascinated with the loneliness that this situation evoked and the immediate empathy that you had for this character. We spend most of our time on films trying to make our main characters likeable so that you want to follow them and root for them. I started thinking, ‘Well, where do I go with a character like this?’ And it didn’t take long to realize that the opposite of loneliness is love or being with somebody. I was immediately hooked and seduced by the idea of a machine falling in love with another machine. And especially with the backdrop of a universe that has lost the understanding of the point of living. To me, that seemed so poetic. I loved the idea of humanity getting a second chance because of this one little guy who falls in love. I’m a hopeless romantic in cynic’s clothing. This movie gave me a chance to indulge in that romantic side a little more than I normally would in public.”

Jim Reardon—a veteran director and story supervisor on “The Simpsons,” who directed 35 episodes of the show and supervised story on nearly 150 episodes—came on board to be head of story for “WALL•E.” He ended up co-writing the screenplay for the film along with Stanton.

According to Reardon, “We started with the idea of making ‘WALL•E’ a comedy, but about a third of the way through, we realized that the film is a love story, too. WALL•E is an innocent and child-like little character who unintentionally ends up having a huge impact on the world. The story arc of the film is really about EVE. Her character undergoes the biggest change, and the film is as much about her as it is about him. She’s very sleek, techno-sexy, and very futuristic-looking. He’s totally designed just to do his job and is rusty, dirty, and ugly. But we always thought that would make a great romantic adventure.”

Producer Jim Morris sums it up. “This film is a mix of genres. It’s a love story, it’s a science-fiction film, it’s a comedy, it’s a romantic comedy.”

One of the great turning points for Stanton in creating the story for “WALL•E” was stumbling upon the idea of using the musical imagery and songs from the 1969 movie version of “Hello, Dolly!” to help him define WALL•E’s personality. In fact, it is WALL•E’s repeated viewings of an old videotape of that film (the only one in his collection) that have led to the glitch of his romantic feelings.

Stanton explains, “I had been searching for the right musical elements to go with the film, and stumbling upon ‘Hello, Dolly!’ was the best thing that could have ever happened. The song ‘Put on Your Sunday Clothes,’ with its ‘Out There’ prologue, seemed to play so well with the themes of the film and yet would normally not be the kind of music you’d expect to find in a film like ours. It’s a very naïve song, really, and it’s sung in ‘Hello, Dolly!’ by two guys who don’t know anything about life. They want to go to the big city, and they ‘won’t come home until we’ve kissed a girl.’ There’s such simple joy to it, and it really worked for us. When I found ‘It Only Takes a Moment,’ it was like a godsend. That song became a huge tool for me to show WALL•E’s interest in what love is.”

Says producer Morris, “Holding hands is the thing that WALL•E’s wanted to do the entire movie, ’cause it’s what he’s learned from watching ‘Hello, Dolly!’’s the way you show affection in that movie.”

Adds Stanton, “And I realized, ‘That’s right.’ That musical moment in the film showed these two people holding hands, and I knew it was meant to be,” he says. “I’ve always felt, almost with a zealous passion, that animation can tell as many stories in different ways as any other medium, and it’s rarely been pushed outside of its comfort zone,” concludes Stanton. “I was so proud to have had something to do with the origin and creation of ‘Toy Story,’ because I felt that the tone of the movie and the manner of its storytelling broke a lot of conventions that were in people’s minds. And I still feel like you can keep pushing those boundaries. Even before I knew this film was going to be called ‘WALL•E,’ I knew it was yet another step in pushing those boundaries out farther. I’m so proud that I got a chance to make it and that it matched my expectations.”

Jim Reardon, head of story for “WALL•E,” observes, “What we didn’t want to do on this film was draw human-looking robots with arms, legs, heads and eyes, and have them talk. We wanted to take objects that you normally wouldn’t associate with having humanlike characteristics and see what we could get out of them through design and animation.”

Stanton explains, “We wanted the audience to believe they were witnessing a machine that has come to life. The more they believe it’s a machine, the more appealing the story becomes.”
Jim Reardon, head of story for “WALL•E,” observes, “What we didn’t want to do on this film was draw human-looking robots with arms, legs, heads and eyes, and have them talk. We wanted to take objects that you normally wouldn’t associate with having humanlike characteristics and see what we could get out of them through design and animation.”

Stanton explains, “We wanted the audience to believe they were witnessing a machine that has come to life. The more they believe it’s a machine, the more appealing the story becomes.”

One of the biggest challenges facing the animators was the need to communicate emotions and actions clearly without being able to rely on traditional dialogue.

“We felt we could do it with nontraditional dialogue, maintaining the integrity of the character,” says Stanton. “In real life, when characters can’t speak—a baby, a pet—people tend to infer their own emotional beliefs onto them: ‘I think it’s sad,’ ‘She likes me.’ It’s very engaging for an audience.”

According to Ed Catmull, president of Disney and Pixar Animation Studios, “In ‘WALL•E,’ the animators are really operating at the height of their craft to be able to convey emotions and complex thoughts with so few words. It’s more about being able to touch people through the animation.”

Stanton notes, “In the world of animation, pantomime is the thing that animators love best. It’s their bread and butter, and they’re raised on it instinctually. John Lasseter realized this when he animated and directed his first short for Pixar, ‘Luxo Jr.,’ featuring two lamp characters who express themselves entirely without dialogue. The desire to give life to an inanimate object is innate in animators. For the animators on ‘WALL•E,’ it was like taking the handcuffs off and letting them run free. They were able to let the visuals tell most of the story. They also discovered that it’s a lot more difficult to achieve all the things they needed to.

“I kept trying to make the animators put limitations on themselves, because I wanted the construction of the machines and how they were engineered to be evident,” Stanton adds. “The characters seem robotic because they don’t squash and stretch. It was a real brain tease for the animators to figure out how to get the same kind of ideas communicated and timed the way it would sell from a storytelling standpoint and yet still feel like the machine was acting within the limitations of its design and construction. It was very challenging—and completely satisfying when somebody found the right approach and solution.”

G-FAN #84

G-FAN #84
Summer 2008 Issue Summary

by Armand Vaquer

G-FAN #84 is hitting mailboxes and newsstand shelves around the world. Here is a summary of some of the treats the issue contains:

News: Several items are noteworthy in the world of kaiju, including the passing of Akemi Negishi, the young mother from "King Kong vs. Godzilla."

G-Mail: Several pages of readers' comments are presented.

Roland Emmerich is put under Brett Homenick's interview microscope as Emmerich remembers his work on the TriStar "Godzilla" (1998).

Brett also interviews actor and voice-actor James Hong, superhero anime singer Ichiro Mizuki, actor Rhodes Reason (part two from G-FEST XIV), director and screenwriter Ib Melchior and gaijin actor Andy Smith.

A photo collection of director Jorg Buttgereit's visit to Japan while working on his latest monster documentary, "Monsterland." Buttgereit will continue filming this documentary at G-FEST XV this summer.

Friends & Foes of Godzilla continues with new artists.

Hugh Hefner's nightmare? Mike Bogue takes a retro review of hare-raising 1972 feature, "Night of the Lepus."

Kenju Shimomura presents a profile on special effects wizard, Shinji Higuchi.

Allen A. Debus tackles the changing nature of kaiju in prehistoric monster stories in "Prehistorical Daikaiju Evolution."

Rex Summeral returns in Part 2 of "Troubles With the Yurei of Kaiju" by Skip Peel.

Mike Bogue and Todd Tennant present Part 2 of "Tales of King Komodo."

Steve Agin reports on the latest monster toys (perhaps some can be found at G-FEST XV's Dealers Room) in "All Monster Toys Attack!"

A report by Armand Vaquer on Atomic Comics' "Godzillafest" held in April in Phoenix, Arizona titled, "Godzilla In The Desert."

All the above can be found and more. That's it until the Fall, 2008 issue (#85).

Batman: The Dark Knight - Have Bat-Pod, Will Travel

Source: Warner Bros

"Will you be wanting the Bat-Pod, Sir?"
"In the middle of the day, Alfred? Not very subtle."

On the screen, Lucius Fox gets credit for providing Batman with his state-of-the-art crime-fighting accoutrement, from his new and improved Batsuit to his weapons and his different modes of transportation. In real life, however, credit goes to Chris Nolan and his behind-the-scenes design teams, led by production designer Nathan Crowley and costume designer Lindy Hemming, as well as special effects supervisor Chris Corbould and his crew, who turn design into function.

Nolan remarks, "With 'Batman Begins,' we got to show how things like the Batmobile and the Batsuit were developed. At the same time, we didn't fully explore all of the gadgetry, so in continuing the story, what we get to do is show how he becomes even more high-tech, but still in a credible way. What I love about Batman is that he has no super powers except for his extraordinary wealth. Looking at it from that point of view, if you had limitless financial resources, and therefore a lot of power in material ways, how could you apply that to the creation of some amazing gadgets and crime-fighting techniques, all of which are still based on real science and real-world logic?"

Nolan and Crowley had previously redesigned The Caped Crusader's legendary Batmobile for "Batman Begins," creating something of a cross between a Lamborghini and a Humvee. The ultimate muscle car, the Batmobile--nicknamed the Tumbler--combines the power and handling of a sports car with a structure closer to that of an armored tank. Riding on six monster truck tires, the Batmobile has no front axle, allowing it to make tighter turns. Despite weighing in at two and a half tons, it can jump as much as six feet high, and up to a distance of sixty feet, peeling off the instant it touches down. The Batmobile can also do zero to sixty in five seconds.

While the Batmobile remains a formidable presence in "The Dark Knight," the film introduces Batman's newest ride, the Bat-Pod, a high-powered, heavily armed two-wheeled machine. "Of course we were going to have the Batmobile back," states Nolan, "but we wanted to give Batman something new: a fresh means of transportation, something very exotic and very powerful looking. It's a two-wheeled vehicle, but it's definitively not a motorcycle. In essence, the Bat-Pod is to the world of motorcycles what the Tumbler is to the world of cars."

Fast and maneuverable through the streets of Gotham City, the Bat-Pod is also capable of handling all terrains. It has the same monster truck tires as those found on the Batmobile and is self-standing, meaning it does not require a foot stand. Well outfitted for hostile situations, it is equipped with weapons on both sides: 40mm blast cannons, 50-caliber machine guns, and grappling hook launchers.

The original design of the Bat-Pod was the brainchild of Crowley and Nolan. With little more than the basic concept in mind, the two retreated to their favorite design headquarters--aka Nolan's garage--to work out the details. Crowley recalls, "We figured, 'Let's just go for it; let's build it full-size.' So we did. We got some tools and put together a full-size model out of anything we could find that might fit."

Of course, Nolan and Crowley still had no idea if their invention could actually run. That's where the special effects team, headed up by Chris Corbould, came in. Corbould relates, "First of all, I remember when Chris Nolan first showed me his idea for the Batmobile. I had no idea how we were going to make it work even though it ended up being very successful. So when I got his call asking me to come have a look at something he called 'the Bat-Pod,' I thought, 'Uh-oh, what have you dreamt up this time?'"

Corbould flew to L.A., arrived at Nolan's garage, and the first time he looked at Nolan and Crowley's model of the Bat-Pod, "I think he was almost in tears," Crowley laughs. "He looked horrified that he might have to actually mechanize that thing. We kept bringing him cups of tea, and he was just sitting there staring at it, looking like, 'Oh my God, what time is the next flight out?' It was the usual clash of design versus engineering."

As it turns out, Crowley was not far off in his assessment of Corbould's state of mind. "I was flabbergasted," Corbould admits. "I stood there silently, pretending I was mulling it over, but the thought going through my head was that they both had to be off their nut. Where was I going to put a power train? And with those massive wheels, would this thing actually steer? There were so many issues."

Despite his concerns, Corbould returned to London, where he and his crew began brainstorming ways to bring the Bat-Pod to life. After some trial and error, they developed the final working Bat-Pod, which was surprisingly close to the rough model that Nolan and Crowley had originally constructed. Nolan confesses, "It really shouldn't work, but somehow Chris and his team found a way to do it."
"The funny thing is," Corbould says, "I don't think Chris or Nathan had ever ridden a motorcycle in their lives, so they were completely unaware of the mechanics needed to get that thing moving. In a way it was beneficial because they weren't steered towards a more orthodox bike, even subconsciously. The fact that they had no knowledge of the mechanics helped them create this weird, wonderful vehicle."

Actually being able to drive it was another matter entirely. Nolan confirms, "The finished product that Chris and his team came up with was very striking, very effective and worked very well, but it's incredibly difficult to ride and to steer."

In order to maneuver the Bat-Pod, the driver has to lean his upper body forward, almost horizontally, and steer from his elbows, rather than his wrists. In fact, the only person who was able to master the Bat-Pod was professional stunt rider Jean-Pierre Goy. Corbould offers, "I've worked with Jean-Pierre a couple of times, and he is one of the best bike riders in the world, if not the best. Right away, he totally got in the mindset of learning that machine. He said, 'I'm not riding another bike until I finish this sequence,' because he had to concentrate on the Bat-Pod's unique handling qualities. I'd be lying if I said it was easy for even him to ride, but it looked spectacular when he did, so it was worth the effort."

Cobra Returns To Television To Celebrate 30th Anniversary

Written By: Ken Hulsey
Source: Japan Today

It was announced today that the popular 80s anime series, "Cobra" will return to Japanese television this fall. The series, which first aired in 1983, was spawned from the hugely popular manga that was first published in 1978, and has sold over 30 million copies to date. The comic book series was so popular that it was also turned into a full-length animated film in 1982. The television series then followed a year later.

In celebration of the comics 30th anniversary, a brand new series of “Cobra” will be released on DVD Aug 29th, to be followed by the start of the “Cobra” TV series soon after. That's right, you can buy it on DVD before it even airs on television.

The new series will feature both hand-drawn and computer generated animation, but fans of the original comics and TV series won't have to worry about the CG overshadowing the traditional anime. Buichi Terasawa, the author and director, explains, “Animation is a good way to keep the original image of the comic. The hand-drawn look is an essential reason for the popularity of Japanese cartoons. Although we use computer graphics, we like to emphasise the hand-drawn method.”

One thing I should point out to American fans, is the fact that although the series is called "Cobra", and it was made in the 80s', it has nothing at all to do with "GI Joe." "Cobra" is actually about the adventures of a space pirate, not some Green Barret wannabees.

A New Promotional Banner For The Day The Earth Stood Still

Written By: Ken Hulsey
Source JoBlo

This brand new promotional banner for the remake of "The Day The Earth Stood Still" mades its' debut recently at Cinema EXPO in Amsterdam.

According to sources, the teaser trailer for the film is set to screen before "Hancock" , which opens in theaters July 4th.

This remake of the classic 1950 sci fi film stars Jennifer Connelly and Keanu Reeves as Klaatu.

I think that casting of Reeves as Klaatu will present the same kind of problems the prevented Fox from casting Spencer Tracey in the role back in the 50s. You really need an unknown to emerge from the spacecraft to give the film a sense of mystery. As you may remember British actor, Michael Rennie played the alien visitor in the original film. The fact that he was an unknown to American audiences really added something to film. Even though Reeves looks a lot like Rennie, I don't think his appearence will have the same kind of impact.

Oh...and before I forget....if Gort ends up being some kind of giant robot with laser guns and missle launchers, I'm going to throw up!

Metropolis Will Be Coming To Blu-ray Disc In 2009

Written By: Ken Hulsey
Source: Studio Briefing

Fritz Lang's classic 1927 sci-fi masterpiece Metropolis, has been painstakingly restored frame by frame and is due to be released on high-definition Blu-ray disc in 2009, according to Kino International. The film was restored to mark the 75th anniversary in 2002 of the silent movie's original release and included a new soundtrack based on the original score created for the movie.

Up until now fans have been only able to watch a very poor quality print of the film that has been released both on VHS and DVD. Over the decades the original masters have deteriorated badly. It is estimated that about 25% of the original film has been lost forever. From time-to-time reels of previously undiscovered footage have surfaced, either from studio vaults or private collections, even so, it is believed that the film will never be complete again.

Logan's Run (1976)(MGM)

Logan's Run (1976)
Metro-Goldwyn-Mayer (MGM)
Directed By: Michael Anderson
Written By: William F. Nolan, George Clayton Johnson & David Zelag Goodman
Michael York as Logan 5
Richard Jordan as Francis 7
Jenny Agutter as Jessica 6
Roscoe Lee Browne as Box
Farrah Fawcett as Holly
Michael Anderson Jr. as Doc
Peter Ustinov as The Old Man
Randolph Roberts as 2nd Sanctuary Man
Lara Lindsay as The Woman Runner / Computer Voice
Gary Morgan as Billy
Michelle Stacy as Mary 2
Laura Hippe as Woman Customer
David Westberg as Sandman
Camilla Carr as Sanctuary Woman
Greg Lewis as Cub
Ashley Cox as Timid Girl
Bill Couch as Sandman
Glenn R. Wilder as Runner
Runtime: 120 Minutes
Country: USA
Language: English
Color: Color
Released: June 23, 1976

In 1976 Michael Anderson would take liberties with the novel Logan's Run written by George Johnson and William Nolan (Logan's Run and Logan's World) to produce what may arguably be one of the most memorable sci-fi films ever produced. The "Last Day" age would be changed from 21 to 30 and most of the novels racier scenes would be toned down to avoid a "R" rating. Despite these changes the film has often been referred to as the "sexiest science fiction film ever made".

The film would win the Oscar for special effects due to some innovative lighting and optical work involving the latest laser technology. The miniature sets would also become legendary and end up in several sci-fi productions including Star Trek: The Next Generation where the films' domed city doubled as Star Fleet Academy in several episodes. A true testament to just how Logan's Run has stayed with us over the decades.

In the distant future the survivors of the apocalypse live in a giant domed city where their every need is taken care of by overlord computer. People live in world of pleasure, but there is one catch. At the age of 30 all citizens are required to report for a ritualistic murder ceremony known as "Carousel". The populace has been fooled into believing that this ceremony leads to reincarnation and a new life though its real purpose is population control. To insure that citizens don't "chicken out" on their way to Carousel there is a police force in place known as "Sandman" who terminate those who attempt to run.

Logan 5 is one of the elite Sandmen. During one of his routine terminations he retrieves an anch, a symbol for a mythical place called Sanctuary where runners can find refuge, off the body of a would be runner. Upon placing the item into the computers scanner he is instructed to undergo a process to alter his "Life Clock", a symbol of a persons age embedded in the palm, to the blinking red of a person on last day so that he may pose as a runner to infiltrate Sanctuary. During the process he learns that 1036 runners had managed to escape the city and that Carousel is a ruse.

Logan enlists the help of Jessica 6, a young woman he met in attempt to find a sexual partner from the cities computer system, because she wears an anch around her neck. Jessica doesn't believe that Logan wants to run. He is a Sandman and they never run. She would try to set Logan up to be murdered, but the attempt is foiled when Logan is called to terminate a runner in the section of the city referred to as "Cathedral" which is a home for renegade youths. Instead of killing the woman he sets her free and tells her how to avoid the Sandmen. This act convinces Jessica that Logan is on the level.

Francis 7 is Logan's best friend and a fellow Sandman. Logan's constant questioning of "Last Day" has made him suspicious of his comrade who he follows to Cathedral where he witnesses the act of betrayal. Francis is now hunting Logan and Jessica who he feels has warped his friends mind.

Logan and Jessica follow several clues left behind by prior runners and make their way through the underground section of the city with Francis hot on their tail. The pair finally reach a mysterious ice filled cavern ruled by a giant robot named Box who they soon learn has frozen all the runners that have entered his domain to be used as part of the cities food supply. Logan manages to force Box to shoot the ceiling of the cavern causing a giant cave-in which buries the metallic giant.

Logan and Jessica now venture where no human being has been in centuries....outside. The Sun is thing of wonder to them along with the sensation of night and day plus and planets fauna.

A long walk down what centuries ago must have been an interstate highway leads the pair to the remains of Washington DC which is now covered in vegetation. They manage to wonder into the Capitol Building where they find an "Old Man" who's family had lived in the city for generations. The concept of growing old is completely foreign to Logan and Jessica and the wrinkles on his face cause them constant amusement.

Francis 7 manages to trail the pair all the way to the city where he confronts them. When Logan shows Francis that his Life Clock has gone clear he snaps. He lunges at Logan and the pair fight until Francis is killed accidentally by Logan. Francis's last words are "Look Logan, I've renewed."
Logan and Jessica decide that they must stop the murder that is going on back in the city. They feel that everyone should have the right to grow old. There plan is to take Old Man back and show the populous that there is another choice.

When the group return to the city they are arrested and Logan is debriefed by the cities computer. It would seem that the machines data bank couldn't handle the truth that there was no Sanctuary and that they had discovered someone who had been allowed to grow old and the machine short circuits and self destructs. The impending destruction of the city forces the population to flee outside where they find Old Man and a new future.

Logan's Run has survived the generations to become one of the genres classic films. As a sci-fi writer I am constantly asked about the film. It would seem that the ideals touched upon in the film still strike the same chords that they did back in the 1970s. Of course being a sexy film doesn't hurt either.

Logan' Run: Trivia
1. First choices for main characters: Logan 5 - Jon Voight, Jessica 6 - Lindsay Wagner, Francis 7 - William Devane, & Ballard - James Cagney
2. Both Michael York & Richard Jordan were over 30 when the film was made.
3. The film was originally to be produced by George Pal.
4. Ballard's banter to Logan and Jessica consists of quotes from T.S. Eliot's novel "Possum's Book of Practical Cats".
5. On the Ballard costume worn by Peter Ustinov the buttons are made from real U.S. pennies.
6. One of the extras in the crowd for the finale flashes a Star Trek Vulcan salute.
7. The costuming was originally to be much more sexy.

Logan's Run: Life Clock Color Chart
Clear: 0-8 Years - White Clothes
Yellow: 8-16 Years - Yellow Clothes.
Green: 16-23 Years - Green Clothes
Red: 23-29 Years - Red Clothes
Red / Black Flashing: - One week prior to Lastday
Black: 30th Birthday - Report to Carousel or Run
Sandman: 0-30 Years - Uniform: Black w/ Gray Stripe

Logan's Run: Deleted Scenes
1. Opening Scene: Francis 7 hunting a runner before the original Carousel scene. He corners the runner in front of the giant metal hand. After being shot the runner falls into the fountain to the applause of the crowd. (This scene appears in the original trailer for the film.)
2. Box carves an ice sculpture of Logan and Jessica: The scene was originally designed to be a naked pose of both Logan and Jessica embraced. The scene was dropped due to the fact it would have brought an "R" rating.
3. Francis 7 and Logan 5 chat with a woman on Lastday: The scene was designed to show the casualness of death to society.
4. A longer more sexual Love Shop sequence: Once again dropped to avoid an "R" rating.

Monsterpocalypse: Cataclysm Event And CMG Launch At Gen Con Indy

Source: Privateer Press

The Monsterpocalypse is upon us!

Join Privateer Press (booth 1201) and celebrate the world premiere of the Monsterpocalypse collectible miniatures game.

A limited amount of sneak preview starters and boosters will go on sale for the first time ever onThursday, August 14th. The sneak preview contains a sampling of the figures in Series 1: Rise.

The figures are not limited edition and are identical in all respects to the figures in Rise due out October 2008. Be among the very first to play Monsterpocalypse in its debut event at Gen Con Indy! Purchase your product at the Privateer Press booth, grab a ticket to play, bring a desire to level cities, and join us in rooms 105/106 for this participation event! This is not a sealed box event, so boosters are allowed and encouraged.

You can participate in as many of the approximately hour-long matches as you like during this all-day event. Players who participate in TWO or more games will walk away with a limited edition figure, MegaZor-Raiden!

Don’t miss out on the world premiere of Monsterpocalypse on the gaming world’s largest stage at Gen Con Indy.

For more information visit or register for the event at and click “Register Now.”(Information subject to change, visit for the latest updates.)

About the Monsterpocalypse Collectible Miniatures Game

The Monsterpocalypse Collectible Miniatures Game (CMG) brings the giant monster genre – a pop culture favorite – to the tabletop in the form of a fast-paced, action-packed game. Designed by Matt Wilson, the award-winning creator of WAR MACHINE and HORDES, Monsterpocalypse leverages the critically acclaimed abilities of Privateer Press as a leading miniatures manufacturer to enter a new category of product with a property that appeals to a worldwide fan base of all ages. Planned for release in October 2008, visit for previews and updates about the game.

Check Out The Official Trailer, Poster and Website For Serpent Lake

Written By: Ken Hulsey
Source: Avery Guerra

Our very own, Avery Guerra, has struck up quite a friendship with "Serpent Lake" director Joel Trujillo. Earlier today Trujillo sent him a copy of the films' movie poster and let him know that the official website was now up and running. On the site fans will be able to view the third full-length trailer for "Serpent Lake", which Avery tells me features a rockin soundtrack performed by Joel himself.

Monster movie fans should head straight over to:

The Slapstick Comedy Maiko Haaaan!! Comes To US DVD

Source: Media Lab

VIZ Pictures, an affiliate of VIZ Media, has announced the DVD release on June 24 of MAIKO HAAAAN!!!, a zany romantic slapstick comedy, directed by Nobuo Mizuta, about a nerdy Japanese office worker and his obsession with the little-seen Maiko (apprentice Geisha) world. MAIKO HAAAAN!!! features English subtitles, and will be distributed by VIZ Media with an anticipated retail price of $24.98. A dedicated web site is also available at

VIZ Pictures has also announced a special giveaway promotion to coincide with the DVD release. Fans are encouraged to go to and enter the contest before June 24. Ten random winners will be selected to receive a special MAIKO HAAAAN!!! movie package that includes the DVD, poster, Japanese style geisha fan and a wallet keychain.

From acclaimed screenwriter Kankuro Kudo of PING PONG, Yaji and Kita: The Midnight Pilgrims and Takashi Miike's Zebraman, MAIKO HAAAAN!!! is a slapstick comedy with an energetic twist of manic Japanese humor that centers on a geeky salary man named Kimihiko Onizuka (Sadawo Abe, from KAMIKAZE GIRLS) who dumps his girlfriend because he believes he can only fall in love with an apprentice Geisha, otherwise known as a 'Maiko.’ He decides to pursue his dream of courting a real Maiko in Kyoto. The lavish and private Maiko Houses become a social barrier partly caused by a rival who is actually also a millionaire baseball player (Shinichi Tsutsumi). But Kimihiko remains undaunted and embarks on a wild journey using some outlandish premises to gain entry to the Geisha inner sanctum. Meanwhile, Kimihiko’s girlfriend (Kou Shibasaki) tries to win him back by leaving Tokyo to become a Maiko herself.

“Kankuro Kudo is a multi-talented creative force in Japan, winning critical acclaim as a comedian, musician, screenwriter, radio DJ and actor in addition to his talents as a film director,” says Manami Iiboshi, Director, Marketing, VIZ Pictures “His delightful new comedy, MAIKO HAAAAN!!!, puts a funny slant on the austere and seldom-seen world of geishas and audiences will delight in the outrageous events that transpire as one man takes his geisha fetish to a hilarious extreme. Domestic interest in Japanese cinema continues to grow, partly as a complement to the success of manga and anime, but it’s also gaining popularity with decidedly mainstream audiences drawn to the unique stories and characters these films present. As this interest grows, we invite everyone to enter a special MAIKO HAAAAN!!! giveaway and receive the VIZ Pictures newsletter which will give timely updates on new and upcoming releases and the latest in Japanese cinema!”

Get Smart (2008)(Warner Bros)

Source:Warner Bros

The action comedy "Get Smart" sends CONTROL agent Maxwell Smart (Steve Carell) on his most dangerous and important mission: to thwart the latest plot for world domination by the evil crime syndicate known as KAOS.

It also happens to be his very first mission.

When the headquarters of secret U.S. spy agency CONTROL is attacked and the identities of its agents compromised, the Chief (Alan Arkin) has no choice but to promote his ever-eager analyst Maxwell Smart, who has always dreamt of working in the field alongside his idol, stalwart superstar Agent 23 (Dwayne Johnson). Smart is partnered instead with the only other agent whose identity has not been compromised: the lovely-but-lethal veteran Agent 99 (Anne Hathaway).

As Smart and 99 get closer to unraveling KAOS' master plan--and each other--they discover that key KAOS operative Siegfried (Terence Stamp) and his sidekick, Shtarker (Ken Davitian), are scheming to cash in with their network of terror. With no field experience and little time, Smart--armed with nothing but a few spy-tech gadgets and his unbridled enthusiasm--must defeat KAOS if he is to save the day.

Director Peter Segal approached "Get Smart" as both a filmmaker and a fan. "This was an iconic show from the 1960s, a true classic and one of my favorites," he says. "I loved it. It was smart, irreverent and hilarious."

Says producer Charles Roven, "We didn't want to recreate it but to contemporize it--to make it work for our time with a modern perspective and action sequences that aren't only there to punctuate the laughs but are worthy of any thriller. We wanted to bring this world of super-spies into a new era with the scale and scope it truly deserves on the big screen."

Segal discovered that just imagining the familiar characters and some brand new ones in today's headline-worthy situations sparked a thousand ideas and jokes, inspired by the same savvy humor that made the series--the brainchild of comedy mavericks Mel Brooks and Buck Henry--so memorable.

"Our goal was to embrace the spirit of what Mel and Buck created and bring it to a new generation. The movie pays homage to the touchstones of the series; its irreverence, political satire and some of the catchphrases that are now part of our culture," says Segal, "but with a fresh story, a 2008 point of view and a style and energy all its own. The idea was to make a movie that offers as much to new viewers as longtime fans and, bottom line, to just make it funny as hell so it doesn't matter if you know the history or not."

Producer Alex Gartner credits Segal with "the ability to blend smart comedy [pun intended] with serious action, neither of which is easy and certainly not easily meshed, but it's something at which Peter excels and why we wanted him to direct. There's a lot of physical humor here, but played against a realistic backdrop."

Steve Carell, who stars as Maxwell Smart and also serves as an executive producer, sums it up this way: "I'd say it's 80% comedy, 20% action, 15% heart, 35% romance, 10% adventure and probably less than 1% horror. Put that all together and you have more than 100%, which is more, really, than you can expect from any movie."

As the movie opens, Max is hard at work deciphering suspicious international chatter from surveillance tapes and preparing voluminous reports for his CONTROL colleagues. He is such a valuable analyst that his boss, the Chief, is regrettably unable to offer him the one thing Max wants most in life and has been training for so diligently: to become a field agent.

Says Carell, "Max is incredibly earnest and dedicated at what he does but wants desperately to prove himself in the field."

"In this aspect, as in all his comedies," notes Segal, "Steve brings a measure of humanity into play so that you genuinely feel for him. His Max is a man who sees this opportunity as his final shot, and that fuels a lot of his decisions and the subsequent action."

"His secret fear, like that of many people, is that he may have missed his chance, that it's just never going to happen for him," adds screenwriter Matt Ember. "Then circumstances catapult him into his fantasy career overnight. He gets a new lease on life."

When longtime CONTROL nemesis KAOS attacks the agency's headquarters and exposes the identities of its key operatives, the Chief has no choice but to upgrade Max's status to Agent 86 and dispatch him on the kind of dangerous mission that would challenge even a veteran.

Even though it's under the worst possible circumstances, Max can't help being ecstatic.

"Clearly he has a lot to learn and he makes mistakes," Lazar admits. "But just as clearly he has his own talents that emerge as the action progresses and he comes through in unexpected ways that even surprise his reluctant partner, Agent 99. Max is not only by-the-book, but he knows the book better than anyone else."

Still, as Roven points out, "Although Max has studied the agents' manual and passed all the tests, he's never been in a situation where people are actually, well, shooting at him."

There's no easing in, no learning curve; he has to hit the ground running. Literally.

Max is partnered, by default, with Agent 99, the only top CONTROL operative whose identity was uncompromised by the recent breach. Says Anne Hathaway, who stars in the role, "99 is disappointed, to say the least, about working with a rookie, and everything he does in the first five minutes of their meeting only confirms her worst fears. So not only does Max have to prove himself to his boss, he has to prove himself worthy of working alongside this strong-willed woman who is obviously not going to take it easy on him."

Segal asserts that the accident-prone but tenacious secret agent was never meant to be a bungler. "Rather, the humor here springs from Max's unbridled enthusiasm, combined with a woeful lack of practical experience.

"But he's quick to recover. His mind is always working and he's confident that everything he does is right even when it sometimes goes awry," the director adds.

Such is the charm of Maxwell Smart, as described by Leonard Stern, who was an executive producer and Emmy Award-winning writer on the original series and has a cameo in the film as a bewildered pilot yanked from his plane in the name of national security. "You root for Max. You want him to do well. He's indomitable. For every fall he takes he gets up immediately and ignores it, dusts himself off with aplomb and attacks the problem another way."

"Watching the show I always got the impression that Maxwell Smart was no fool," says Carell, a longtime fan. "I saw him as a resourceful, capable guy who had principles he was willing to fight for. He didn't always take the route others might have taken but still, even if it was counter-intuitive, he managed to come out on top."

By presenting Max as a newly minted agent whose abilities haven't yet been tested, Carell begins from a different place than series star Don Adams, of whom he says, "Don was so distinctive, there was no realistic way to recreate his approach and his cadence, and I didn't want to do an impersonation. Instead, I wanted to tap into the essence of the character and the show's rich template and, without taking anything away from that, create something new and fresh in a way that honors the original but also stands on its own."

Regarding CONTROL, the covert agency to which Maxwell Smart has devoted his life, and KAOS, the group it has vowed to obliterate, part of the "Get Smart" mystique is in its depiction of the ongoing struggle between these rival spy agencies whose very existence is unknown except at the highest levels of government.

"CONTROL was conceived as a secret American spy agency focused solely on defeating KAOS, an international organization committed to doing everything they can to create, well, chaos," offers Ewing. "The two are eternally opposing forces that, in the larger sense, represent good and evil." And, in the "Get Smart" sense, represent myriad opportunities for comedy.

In a world defined by CONTROL and KAOS, you never know if a pen is just a pen or possibly also a dart gun. Phone booths become elevators. There are convoluted passwords and secret codes, fantastic devices that would baffle James Bond and undercover agents who can pop up when and where you least expect it.

"The show aired during the Cold War and Vietnam and reflected some of those concerns. We likewise took inspiration from today's headlines," says Segal, in reference to a pervasive public consciousness of clandestine events occurring worldwide. "With the CIA, FBI, Homeland Security and potentially more than a hundred similar agencies operating in the U.S. alone, the idea that underground organizations such as CONTROL and KAOS could exist doesn't seem so far-fetched. There's still a lot going on politically to satirize and skewer."

"In other words, in the 40-some years since 'Get Smart' aired in an atmosphere of international tension and suspicion, not much has changed," quips Stern.

Clearly, we need Maxwell Smart now more than ever.

Journey To The Center Of The Earth - Storytelling In Digital 3D

Source: Warner Bros

What puts "Journey to the Center of the Earth" on a new cinematic plateau for feature-length narrative films is the process in which it was photographed. During the initial phases of development, the decision to shoot "Journey to the Center of the Earth" entirely in high definition 3D was based on the filmmakers' desire to give audiences the most compelling visual experience, at once taking a classic tale to a new level and staying true to the heart and soul of the source material.

"The environments detailed in Jules Verne's novel lend themselves to an inherently immersive experience," says Huggins. "Shooting this film in 3D was a perfect match for bringing the wonder and adventure to life."

"Having a long history of working on 3D films for theme parks and an even longer history in the visual effects world, I felt very comfortable shooting this film completely in 3D," says Brevig. "At the same time, I was careful to avoid overusing 3D effects because effects that come across as too gimmicky can take you out of the story."

"Journey to the Center of the Earth" was the first narrative motion picture to use the Fusion System, a state-of-the-art camera rig developed by award-winning filmmaker James Cameron and cinematographer Vince Pace. Unlike many specialty format camera setups, the Fusion is lightweight and portable, and features dual ultra high-resolution 3D video cameras mounted side-by-side to simulate the viewer's right and left eyes. Its compact size, mobility and adjustability offer unprecedented freedom, control and flexibility for the filmmakers.

"In the past, 3D cameras were so bulky and heavy that freedom of camera movement was very limited and this decreased the director's options in staging a dynamic scene," says Brevig. "The Fusion camera rigs are so well designed and so small that we can move the camera like a 2D camera. This advancement is enormous. We were able to shoot handheld and underwater, as well as mount the rig on steadicam and for aerial photography."

Director of photography Chuck Schuman adds, "The idea behind the 'Fusion' setup is to imitate the human vision system. This gives the audience a new relationship to what they're seeing in the theatre, so what you see on screen is exactly what you would see if you were actually there."

Another new development was the use of something called "active convergence," in which the filmmakers were able to change the focal point in 3D. "Much like a traditional filmmaker changes focus, we put the point of convergence where the action is," explains Brevig, "so that as people are watching and experiencing the 3D movie, it makes it much easier to watch."

"By selectively changing the lenses' angles we can adjust the apparent screen depth during a shot to follow the action," elaborates Schuman. "For scenes in which the camera needed to be placed closer to the actors than the Fusion's side-by-side setup would allow, we used Pace's compact 'Beam Splitter' camera rig that allowed for closer spacing between the lenses. To the audience, this means less eye-crossing and more comfortable viewing."

Christopher Townsend adds that shooting "Journey to the Center of the Earth" in digital high definition gave the filmmakers greater latitude to create striking imagery, coming closer to replicating human vision than any previous 3D film. "We have a much greater depth of field in a high definition image than we traditionally would have in a film image, so you're getting many more things in focus in terms of the distance between the camera and subject. In film, if you've got an actor who's lying on a rock reaching his hand out to the camera, you can either have his fingers in focus or you can have his eyes in focus. But you can't have them both in focus. With high-def 3D video, because of the greater depth of field, you can now have both in focus. So the effect looks hyper-real."

"When you have an adventure of this scope, capturing the images with cutting-edge digital technology simply gives the audience a more visceral experience," says Huggins.

"Our number-one goal with this film is to entertain," remarks Flynn. "This state-of-the-art cinematic approach now allows us to revisit Verne's material, which has stood the test of time, in a whole new way."

"Without doubt, new technology adds tremendous value to the filmmaking and theatre-going experience," offers Brevig. "At the end of the day, the biggest reward for me was getting the chance to work with such an amazing team of dedicated professionals to do something we've never done before.

"Our goal was to fully immerse the audience in the adventure, so you actually forget you're watching a movie and believe that you are right there at the center of the Earth with Trevor, Hannah and Sean." The director concludes, "Whether you see 'Journey to the Center of the Earth' in 3D or in conventional theatres, it will be an incredibly fun adventure, a nonstop ride."

Actress Profile - Grace Park

Source: Electric Artists

Grace Park co-stars on the critically acclaimed sci-fi series “Battlestar Galactica,” now in its fourth season, playing not one but two leading roles. Her performance in the season one cliffhanger garnered her a place in TV Guide’s “100 Most Memorable Moments in TV History.” The series received a Peabody Award in 2006 and has remained a critic’s darling since its inception, rated one of television’s best shows by Rolling Stone, TV Guide, The New York Times Magazine, Entertainment Weekly and Newsday.

Born in Los Angeles and raised in Canada, Park received a degree in psychology from the University of British Columbia before turning her attention to film and television. She was almost immediately cast in the memorable Jet Li film Romeo Must Die, quickly following that role with appearances in “The Dead Zone,” “The Outer Limits,” and, notably, the CBC series “Edgemont.” She would play the pivotal role of Shannon Ng on that series for five years while also guest-starring on “The Immortal,” “Jake 2.0,” and “Stargate SG-1.”

In addition to her film and television work, Park has expanded her range in the stage productions of “The Boys Next Door,” as Sheila and “West 32nd,” as Lila Li.

See also: Galactica's Grace Park Set To Star In The Cleaner / Nothing Brightens Up A Home Like A Life-Size Cylon / Interview - Richard Hatch /Battlestar Galactica (1978-1979) /Sci Fi Begins Production On Caprica

Nude Japanese Hotties Aplenty In Spy Girls Mission Cord #005

Written By: Ken Hulsey
Sources: Avery Guerra / Tars Tarkas

Is 2008 the year of the Asian action movie hotties or what? Here is yet another example of a Japanese movie featuring sexy young ladies kicking ass and loosing their clothes. This latest epic, which is written and directed by Eitoku Kawamura, is entitled "Spy Girl's Mission Cord #005" (Shin Spy Girl Daisakusen: Wakusei Kara no Shinryakusha) and from the trailer it looks a lot like "Super Ninja Doll" meets "The Mysterians." Honestly I have no idea what "Mission Cord #005" means, then again this is a Japanese film that features four sexy ladies, so I guess it doesn't really matter. "Spy Girls" stars popular Japanese model and adult film star Akiho Yoshizawa as the mysterious gold clad alien seductress, who can be seen in the films trailer running around in all forms of undress battling the three "Spy Girls".

As I have mentioned in past articles, it seems that Japanese film makers have suddenly discovered that films starring real naked women are as cool as films starring animated naked women. At least that's the way it seems these days with more and more of these adult oriented sci fi and action films being churned out on a regular basis.

Here is the plot:

At Manazuru Peninsula strange UFO sightings are accompanied by killings in which the victims’ corpses are completely mummified. When the proprietor of the nearby Institute of Space and Astronautical Science decides to investigate and promptly disappears the Spy Girls (played by gravure idols Sawa Hashimoto, Megumi Kagurazaka, and Saya Hikita) are called in to get to the bottom of things. They eventually discover the cause of all the trouble, an alien seductress with murderous intentions known only as Gold Lady (Akiho Yoshizawa), and a ridiculously slow-paced battle ensues.


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