Kate Bosworth Calls James Marsden a Coward in 'Straw Dogs' Clip

We know, we know -- you are sick of Hollywood remaking classic films. And, hey, we are too. If there was ever a list of movies that should not be remade, Sam Peckinpah's 'Straw Dogs' would probably be on it. However, we are way past that now -- after all, the new 'Straw Dogs' will hit theaters September 16. We aren't really sure how good (or bad) this new version will be, but it is nice to see Alexander Skarsgard break out of his vampire shell (he plays Eric in HBO's 'True Blood'). This new clip of the remake features the two lead actors, James Mardsen (David) and Kate Bosworth (Amy) discussing the possibility of firing the group of locals who are working on a house they plan to sell. Of course, if you have seen the original, you know that doesn't work out so well. [via Hollywood.com]

'Last Call With Carson Daly' Strikes Deal to Re-Air on Fuse (Exclusive)

Last Call With Carson Daly is getting a second run on Fuse.our editor recommendsNBC Renews 'Last Call With Carson Daly''The Voice's' Carson Daly on Season 2: We Won't 'Whore It Out' The music network has acquired the rights to re-air NBC's long-running late night series, which will begin rebroadcasting the show the following day with the launch of the 2011 season. New and expanded Last Call content, including interviews and musical performances, will appear on The Madison Square Garden Company-owned net's site, Fuse.TV. "Last Call is all about discovering great stories, interviews and most of all new music," said Carson Daly. "Since Fuse is where music lives, this partnership is a no-brainer." The news comes as Daly's profile has been raised as host of NBC's breakout singing competition seriesThe Voice.The one-timeTRLveejay's late night series, which airs afterJimmy Fallon's show, is up 12 percent in total viewers, year over year. "Anybody who loves music on television, loves and respects Carson Daly," addedBrad Schwartz, Fuse's senior VP of programming and operations. "Carson's star has never been brighter and his music expertise, credibility and interview style resonates with artists and fans everywhere. It is going to be an awesome addition to Fuse's music lineup." Fuse will serve up Daly's show at 6:30 p.m. and 10:30 p.m., as well as on weekends. On Aug. 24, the network will begin airing previously aired episodes of the late night series. Email: Lacey.Rose@THR.com Twitter: @LaceyVRose Related Topics NBC The Voice Carson Daly

The Year of the Tiger (El ano del tigre)

A Fabula production. (International sales: Funny Balloons, Paris.) Produced by Juan de Dios Larrain, Pablo Larrain, Gonzalo Maza. Executive producers, Mariane Hartard, Andrea Carrasco Stuven, Juan Ignacio Correa. Directed by Sebastian Lelio. Screenplay, Gonzalo Maza.With: Luis Dubo, Sergio Hernandez, Viviana Herrera.Chile's devastating 2010 earthquake and tsunami form the background of "The Year of the Tiger," Sebastian Lelio's understated exploration of fate, freedom and faith, which builds power and complexity via minimal means. Tackling larger issues than his previous pics "Navidad" and "The Sacred Family," "Tiger" is Lelio's first feature without a religious title, yet it's also his most considered meditation on the presence or absence of God. Auds uncomfortable with religion-flavored pics shouldn't be frightened off, since Lelio is no preacher and the story's subtlety and satisfying indie concept make it deserving of cutting-edge arthouse attention. Manuel (Luis Dubo, strong) is in prison for an unspecified offense. A conjugal visit from wife Marcela (Viviana Herrera) turns rough, hinting at a streak of violence in Manuel's character. Later, when the earthquake strikes, the prisoners pour out of jail into a devastated landscape. When Manuel reaches the coast and his former house, all he finds are ruins, along with personal items that indicate his family was swept away by the tsunami. He heads to his mother's house, where he finds her dead amid muck and detritus. After burying the body, he wanders the area and comes across a dazed tiger in a cage. Manuel frees the tiger and keeps moving, but he's held at gunpoint by an abusive farmer (Sergio Hernandez), demanding he work for an ear of corn he stole. Scenes between the two men form the heart of "Tiger," as the farmer descends into a drunken spiral of self-pity, shouting that God destroys the wicked and requesting divine forgiveness for being a terrible husband and father. Dialogue was improvised, with Lelio and scripter Gonzalo Maza providing guidelines rather than a set text; the results, especially in this scene (by far the most wordy in a largely wordless film), further a sense of untutored naturalness deliberately cultivated in the lensing. Manuel's violence reasserts itself, partly in response to the incomprehensible destruction around him and partly as a reaction to the farmer's brutality. A scene during a service outside a ruined church throws into high relief the conflict between those seeking comfort in a benevolent God testing His flock and those who reject the existence of God in a world of unfathomable disasters. Lelio doesn't privilege one viewpoint over the other, allowing both outlooks to exist uneasily side by side. Instead, what the pic implies is that there is no point in looking for a reason, no matter what your beliefs, since there is no rationale behind catastrophe. At the same time, Lelio explores concepts of liberty (including, of course, free will) and the near-agoraphobia that can result from sudden freedom. The helmer and scripter do so via the subtlest of means and without a hint of sermonizing, instead presenting the struggle and trusting an intelligent audience to enter into the dialogue. Though Lelio and d.p. Miguel Ioan Littin shoot on HD, they give the pic a sense of texture, especially in darker scenes, which likely will be enhanced following an anticipated blowup to 35mm. In shooting the earthquake's shocking devastation and its aftermath, the collaborators give certain sequences the feel of amateur footage; it's the right approach to the impossibility of capturing the wreckage, understanding that to make it look beautiful or consciously artistic would be unwise.Camera (color, HD), Miguel Ioan Littin; editors, Sebastian Sepulveda, Lelio; music, Cristobal Carvajal; production designer, Fernando Briones; sound (Dolby SR), Roberto Espinoza; line producer, Javier Pradenas. Reviewed at Locarno Film Festival (competing), Aug. 8, 2011. (Also in Toronto Film Festival -- Vanguard.) Running time: 82 MIN. Contact the Variety newsroom at news@variety.com

Back To Stay: Film Review

LOCARNO - The lives of three sisters in their crumbling Buenos Aires mansion are evoked with empathy in writer-director Milagros Mumenthaler'sslow-burning, squarely feminine-focused debut Back To Stay. World premiering in competition at Locarno, it took the festival's top prize, the Golden Leopard, as well as the international critics' award and Best Actress (for María Canale). These accolades should kick off an extended run on the film-festival circuit, especially at events keen on uncovering fresh talent. But this Argentinian/Swiss co-production is ultimately a little too small-scale to stand much chance commercially outside Spanish-speaking territories. Even there it's a strictly niche offering.our editor recommendsLocarno Film Festival: Argentina's 'Back to Stay' Takes the Top Prize Born in Argentina, the 34-year-old Mumenthaler, who has two sisters of her own, moved to Switzerland as a baby, but returned to study cinema and then directed a small handful of well-received shorts. Her first feature evidently draws heavily on autobiographical details, and feels especially well-observed in the way it traces the tricky, volatile dynamic that often develops when sisters find themselves in close proximity for extended periods of time. STORY: Locarno Film Festival: Argentina's 'Back to Stay' Takes the Top Prize Mumenthaler is deliberately sparing with background information, but we glean that Marina (María Canale), Sofia (Martina Juncadella) and Violeta Tauss (Ailín Salas) have been raised by their grandmother following the death of their parents. When the grandmother also passes away (just before the start of the film), the trio must find new ways to get along without a controlling 'parental' figure. They reluctantly examine their lives and priorities, engage in (mainly) low-level bickering and, as the seasons pass outside, haltingly emerge from their cozy, inertia-bound semi-exile. The girls have grown up among the dusty trappings of the past: The house is full of chintzy furniture and long-outmoded electrical appliances, including an amusingly retro-style bed complete with jolting vibrate option, but the time has clearly come to open doors and windows (hence the original Spanish-language title, Abrir puertas y ventanas). Crucial to their 'coming-out' is handyman-neighbor Francisco (Julián Tello) who, after the sudden departure overseas of the restless Violeta - a pivotal event which occurs offscreen, but has a major impact on all that follows - edges towards a relationship with Marina, the oldest and most insecure of the sisters. Keeping the emphasis firmly on character development and atmosphere, Mumenthaler , whose choice of subject matter and technique unavoidably recalls the early works of her acclaimed compatriot Lucrecia Martel (The Swamp, The Holy Girl), takes her own sweet time in the early and middle sections, exploring the house and its grounds with an anthropologist's keen fascination for the most humdrum of details. This approach risks, and sometimes crosses the line into self-indulgence and/or tedium. But audiences willing to be patient may find themselves becoming imperceptibly drawn into the Tauss girls' world. Indeed, Back To Stay is a movie, which, though seemingly humdrum, does linger resonantly in the mind. Certain key scenes exert an entrancing spell, such as the one in which the sisters, slumped on a sofa, casually join together in singing along to the ethereal 1970s folk-song (sung by Bridget St. John) that provides the English-language title. Overall there's the tangible sense that these are real people, not just scriptwriting constructs as Mumenthaler elicits strong performances from her tight little ensemble. Venue: Locarno Film Festival Production companies: Alina Film, Ruda Cine (in co-production with Waterland Film and Radio Télévision Suisse) Cast: María Canale, Martina Juncadella, Ailín Salas, Julián Tello Director/screenwriter: Milagros Mumenthaler Producers: Violeta Bava, David Epiney, Rosa Martínez Rivero, Eugenia Mumenthaler Director of photography: Martín Frias Production designer: Sebastián Orgambide Costume designer: Françoise Nicolet Editor: Gion-Reto Killias Sales: The Match Factory, Cologne No rating, 100 minutes Festival de Cannes

Bruce Willis Enters Negotiations to Play the Original Joe in 'G.I. Joe 2' (Exclusive)

Kevin Winter/Getty Images Bruce Willis in talks to join the cast of Paramount's G.I. Joe 2: Retaliation, with the veteran action actor marked to play the original Joe. Willis, if a deal comes together, would play General Joe Colton, the man who in 1980s comic books starts the G.I. Joe strike team, called the ultimate freedom fighting force, and got the handle G.I. Joe. Jon M. Chu is directing the Lorenzo di Bonaventura-produced action movie, which is bringing a mostly new cast to the franchise. Dwayne Johnson, Adrianne Palicki, Ray Stevenson and RZA are among the recruits for the second film. The movie begins shooting later this month in New Orleans. Paramount has staked out a June 29, 2012 release date. Willis, whose last starring gig was the hit Summit action movie Red, most recently shot the thrillers Cold Light of Day, the Henry Cavill-starrer that is in post-production, as well as Looper, directed by Rian Johnson. Willis is repped by CAA. Paramount to declined to comment. Email: Borys.Kit@thr.com Twitter: @Borys_Kit Bruce Willis G.I. Joe 2

'Tia & Tamera' Premiere Sets Ratings Record For Style

Last night's premiere of Style Networks new docu-seriesTia & Tamera posted the networks most-watched series launch in history. The series starring twin sisters Tia and Tamera Mowry averaged 757,000 total viewers at 9 PM and 1.5 million for the 9 PM and 10 PM airings combined. The 9 PM premiere also ranks as Styles most-watched series launch ever among women 18-49 (357,000) and women 18-34 (203,000). The successful launch gives Tia Mowry two hit cable series; she also stars on BET's The Game. Meanwhile, last night's third-season finale of VH1's Basketball Wives logged a 1.6 rating in adults 18-49, making it the highest-rated telecast on VH1 in two years, and drew 2.6 million viewers.

Tips for Working with Fake Blood

Vampires and zombies. Cops and corpses. Murderers and mad scientists. All parts an actor might be called on to play-and all will likely put you in the vicinity of fake blood. Here are a few tips for working with this sticky, sinister substance.1. Wear your laundry-day underwear. Even if you're protected by a multilayered costume, there's no guarantee the stuff you've got on underneath will survive a day of pseudo-gore. Actor David Mattey sacrificed a few unmentionables while being drenched in 18 gallons of fake blood during a gory death scene in the cult-classic film "Citizen Toxie: The Toxic Avenger IV.""The underwear I had on under my costume for that scene was pink for the rest of its life," he says. "Wear stuff that you aren't in love with, 'cause you may have to throw it out."2. Invest in a can of shaving cream. Your skin may also bear the brunt of heavy-duty blood work. "Shaving cream is really effective at taking the red stains out of your skin without being too abrasive," says actor Graham Skipper, who engages in plenty of bloodletting as mad med student Herbert West in the L.A. stage hit "Re-Animator: The Musical."And there's an added beauty benefit, notes Mattey: "Shaving cream not only gets the stuff off, it moisturizes." 3. React. Fake blood may be one of many effects you're working with, but try to remember that it's more than a mere prop. It likely represents something crucial happening in the scene."When the actor can link himself or herself with this special effect that they're wearing, then they have the ability to move with it and let it become an extension of that character," says special-effects designer Waldo Warshaw, who has worked on multiple productions of the blood-soaked play "The Lieutenant of Inishmore."Jaime Kirk, co-owner of the pirate performance group PDXYAR, has extensive experience in stage combat. When they're prepping, he advises actors to think of the last time they saw their own blood: "That first crystallized moment of realization that lasts what seems like forever. The initial instant wherein it stopped being just visual data and became real. Lock that thought away, because it's about to become part of your process. If you make the blood feel real, the audience will feel it as well.""If you allow the reality of it to take over, you will do a good job," adds actor Jaime Andrews, who had to vomit up a whole mess of blood for a gruesome sequence in the short film "Wretched." "If you believe this is coming out of you, or out of another person, you can't help but react."And take special care to consider how your character in particular would react. "My character isn't very squeamish when it comes to blood, so I try to relish it as much as I can," says Skipper of his "Re-Animator" performance. "There's a scene where I behead my nemesis with a shovel, and quite a bit of blood shoots up into my face, chest, mouth, nose, eyes-pretty much anywhere-when I do it. I really revel in that moment, because I feel like having the audience seeing me rejuvenated by all that gore ends up getting them more into the spirit of things."4. Get technical. Even if you're connecting with your bloody scene emotionally, you'll be sunk if you don't master a few technical details. Remember, for instance, that fake blood is slippery: If it's all over the floor, watch your step. If you have to spit it out, learn how to aim. (Mattey credits Little League for schooling him in the art of "being a good spitter.") And when it's coming right at you, figure out where it's going to hit."I learned to know when and where it's going to be spraying," says Skipper. "In the scene where I wrestle with a bile-spewing intestine, there was one night early on when a high-powered spray of blood got me in both eyes. I finished the scene almost completely blind. That wasn't a fun surprise to have while singing a song."When in doubt about the technical aspects, says Mattey, don't panic. The makeup effects team is your greatest resource. "They're going to be there to take care of you," he says. "And in most cases, they have more experience than you do dealing with this stuff."5. Take care of yourself. At the end of the day, working with blood can be just as draining as any other acting challenge-sometimes even more so. "Don't underestimate how upsetting it can be," says Andrews. "If you're going to go to a dark place in the scenario, make plans afterward for a bath with good music or a quiet night with good friends." By Sarah Kuhn August 8, 2011 Vampires and zombies. Cops and corpses. Murderers and mad scientists. All parts an actor might be called on to play-and all will likely put you in the vicinity of fake blood. Here are a few tips for working with this sticky, sinister substance.1. Wear your laundry-day underwear. Even if you're protected by a multilayered costume, there's no guarantee the stuff you've got on underneath will survive a day of pseudo-gore. Actor David Mattey sacrificed a few unmentionables while being drenched in 18 gallons of fake blood during a gory death scene in the cult-classic film "Citizen Toxie: The Toxic Avenger IV.""The underwear I had on under my costume for that scene was pink for the rest of its life," he says. "Wear stuff that you aren't in love with, 'cause you may have to throw it out."2. Invest in a can of shaving cream. Your skin may also bear the brunt of heavy-duty blood work. "Shaving cream is really effective at taking the red stains out of your skin without being too abrasive," says actor Graham Skipper, who engages in plenty of bloodletting as mad med student Herbert West in the L.A. stage hit "Re-Animator: The Musical."And there's an added beauty benefit, notes Mattey: "Shaving cream not only gets the stuff off, it moisturizes." 3. React. Fake blood may be one of many effects you're working with, but try to remember that it's more than a mere prop. It likely represents something crucial happening in the scene."When the actor can link himself or herself with this special effect that they're wearing, then they have the ability to move with it and let it become an extension of that character," says special-effects designer Waldo Warshaw, who has worked on multiple productions of the blood-soaked play "The Lieutenant of Inishmore."Jaime Kirk, co-owner of the pirate performance group PDXYAR, has extensive experience in stage combat. When they're prepping, he advises actors to think of the last time they saw their own blood: "That first crystallized moment of realization that lasts what seems like forever. The initial instant wherein it stopped being just visual data and became real. Lock that thought away, because it's about to become part of your process. If you make the blood feel real, the audience will feel it as well.""If you allow the reality of it to take over, you will do a good job," adds actor Jaime Andrews, who had to vomit up a whole mess of blood for a gruesome sequence in the short film "Wretched." "If you believe this is coming out of you, or out of another person, you can't help but react."And take special care to consider how your character in particular would react. "My character isn't very squeamish when it comes to blood, so I try to relish it as much as I can," says Skipper of his "Re-Animator" performance. "There's a scene where I behead my nemesis with a shovel, and quite a bit of blood shoots up into my face, chest, mouth, nose, eyes-pretty much anywhere-when I do it. I really revel in that moment, because I feel like having the audience seeing me rejuvenated by all that gore ends up getting them more into the spirit of things."4. Get technical. Even if you're connecting with your bloody scene emotionally, you'll be sunk if you don't master a few technical details. Remember, for instance, that fake blood is slippery: If it's all over the floor, watch your step. If you have to spit it out, learn how to aim. (Mattey credits Little League for schooling him in the art of "being a good spitter.") And when it's coming right at you, figure out where it's going to hit."I learned to know when and where it's going to be spraying," says Skipper. "In the scene where I wrestle with a bile-spewing intestine, there was one night early on when a high-powered spray of blood got me in both eyes. I finished the scene almost completely blind. That wasn't a fun surprise to have while singing a song."When in doubt about the technical aspects, says Mattey, don't panic. The makeup effects team is your greatest resource. "They're going to be there to take care of you," he says. "And in most cases, they have more experience than you do dealing with this stuff."5. Take care of yourself. At the end of the day, working with blood can be just as draining as any other acting challenge-sometimes even more so. "Don't underestimate how upsetting it can be," says Andrews. "If you're going to go to a dark place in the scenario, make plans afterward for a bath with good music or a quiet night with good friends."

The Spear of Christ

Follow one of the world's most holy relics on its two-thousand-year journey down through history. It began as an instrument of mercy in the hands of a Roman soldier at Christ's Passion and became one of history's most powerful relics. The Spear of Christ is believed to have been infused with miraculous power as it pierced the side of Christ and has been linked to some of history's most remarkable episodes. Travel through history as we examine each of four artifacts claiming to be the Holy Lance. Scientific analysis helps in our attempt to discover if a true Spear of Christ exists today. Through high quality re-enactments, shooting on location, and the use of historic images, we tell the amazing tale of this sacred relic.

David Heyman: Hollywood Nonplayer

Potter producer picks up Image comicYou'd think after a decade of wrangling the colossal Harry Potter series, producer David Heyman might want to put his feet up and take some time off. But you'd be wrong, since he's currently knee deep in Alfonso Cuaron's Gravity, and he's just become attached to Image Comics' Nonplayer, which Warner's are eyeing as a Big Thing for the future. The six issue miniseries by Nate Simpson is set in America around fifty years hence, and centres around delivery girl Dana Stevens, who spends most of her downtime in a total-immersion MMORG called Warriors of Jarvath. Her avatar is an elite assassin, but when she kills a queen, she starts to receive some unwelcome attention from the supposedly non-player game character King Heremoth, and finds herself in some very real danger.... The comics have picked up some seriously positive attention, with Warren Ellis saying Nonplayer is fucking stunning and none other than Moebius calling it beautiful and very cool . Warners clearly agree, possibly seeing a potential tentpole project to back-up the troubled Akira. Roy Lee (The Departed, How to Train Your Dragon) will be overseeing alongside Heyman. Image are fast becoming Hollywood playas: Sam Sarkar and Garrie Gastonny's treasure-hunting The Vault has also just been picked up by Johnny Depp's Infinitum Nihil production company. You can check out a preview of The Vault here, and one of Nonplayer here. Comic book movies are here to stay, but they needn't always be about the capes....

Kaczmarek sets up Transatlantyk fest

PRAGUE -- Poland's new Transatlantyk fest, which unspools Friday, is setting out to claim new ground, according to founder Jan Kaczmarek, a native son of Poznan, where the multi-faceted event is set. It has quite a complex structure," said the Oscar-winning composer and 20-year vet of Hollywood, with sections on films relating to the Arab Spring, German and Scandinavian film, culinary cinema, music and ecology -- plus docus and vintage American B movies. It also adds teach-ins by the likes of producers Richard Gladstein and Michael Phillips, composer Peter Golub and 17 other Polish and international industry vets from diverse areas. Fest is built around a new film funding org, the Rozbitek Institute, which aims to provide a fresh approach for indie filmmakers in the region, who until now have been dependent on state-sponsored coin or television, explained Kaczmarek. Having raised $2 million for the fest, with sponsors in 16 countries, it's clear he's found a promising niche. Transatlantyk is embedded in tolerance of diversity," said Ryszard Grobelny of the city of Poznan, a key backer, and "constitutes a magnet attracting new artistic talents, and teaches how to achieve success even in such difficult times." Fest is hoped to drive cultural and film development in the quaint city with medieval roots, he added. Transatlantyk attempts to challenge conventional ideas in other ways too, said Kaczmarek. With more than 150 pics screening, plus concerts, workshops and hefty prizes on offer, fest aims to raise consciousness about important social problems and environmental issues, he said. Another new area Transatlantyk sails into, in keeping with Kaczmarek's background, is its competish for film scoring, with $20,000 going to young composer of the year and $10,000 for instant composition -- in which entrants will improvise a soundtrack on the spot for a short piece of film. The approach contrasts with traditional music writing in Central Europe, which is much more of a deliberative process. "I believe in the power of instinct," said Kaczmarek. "Especially when adrenaline is high, as you know it is in Hollywood." Fest closes Aug. 13. Contact the Variety newsroom at news@variety.com