Ever since Seth Grahame-Smith’s “Pride and Prejudice and Zombies” got picked up to be adapted into a feature film, there has been a rush to make movies where supernatural elements get inserted into inappropriate places. This is no problem for me as I’m a big fan of both supernatural elements and inserting things into inappropriate places. With “Abraham Lincoln: Vampire Hunter,” Grahame-Smith himself moved the venue from classic literature to historical events, and now Legendary Pictures is looking to keep that trend alive with their new film Here There Be Monsters. Legendary CEO Thomas Tull has come up with the concept for the film, and he has hired Brian Helgeland to write the script. Helgeland is the guy who wrote L.A. Confidential, but don’t get too excited because he’s also the guy who wrote the 2010 version of Robin Hood. Whether he’s the right choice for this project or not will remain to be seen. The focus of the film follows around Revolutionary War naval hero John Paul Jones. You know, the guy who said that he had, “not yet begun to fight.” Everyone knows that Jones captained the USS Ranger during his time fighting against the British, but what this film presupposes is that he was also grappling with giant sea monsters at the same time. Revolutionary War naval battles and sea monster wrangling are two concepts that could make two great movies. Smoosh them together and you get some sort of Reese’s Peanut Butter Cup of a movie. [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as SecretWindowNotSoSecret and iDuddits in order to discuss some topical topic of interest. This week, the question of who exactly made the movie gets front and center treatment. Why do we treat directors with authorial authority when it comes to assigning ownership to a film? Why not the writers? Why not the gaffers? Who really is the true author of a movie and has the auteur theory ruined everything?

This project just keeps sounding better and better. The Legendary Pictures take on the life of Jackie Robinson just cast Robert Redford in a major role – that of Branch Rickey, the man who signed Jackie Robinson to the Dodgers and made history by helping to tear that color barrier down. It’ll be great to see Redford back in uniform, even if he’s not busting out stadium lights. According to the LA Times, the original draft of the script is back to square one with writer/director Brian Helgeland in the driver’s seat. How he can type while driving is beyond me, but the guy wrote L.A. Confidential, so I don’t question it. With this, and a Sam Cooke movie, the biopic world looks on healthy ground right now. It’s a shame that Paul Greengrass’s Martin Luther King, Jr movie Memphis got axed, but even without it, the trend seems to be taking on the stories of famous black Americans. There are plenty of stories to mine there, and plenty of other fascinating figures from American history as well. Hopefully these films come out swinging because as it stands, they’re both off to a great start.

As the only literate Reject, it’s my duty to find the latest, the greatest and the untouched classics that would make great source material for film adaptations. I read so you don’t have to. This week, Print to Projector presents the story of an old shipmaster found stabbed to death, a fortune left untouched, and a mystery that would inspire the writings of Edgar Allan Poe and Nathaniel Hawthorne.

Porter has been double-crossed by his wife Lynn and partner in crime Val Resnick. The duo left him for dead and took off with his share ($70,000) of their latest score, but six months later he’s back and wants only one thing… his money. That motivation is one of the few things the two distinct cuts of Payback have in common.

There’s a new brand of historical fiction emerging that fictionalizes what we’ve just seen in our 24-hour news cycle. The Green Zone stumbles in the genre’s early baby steps.

Ever fantasized about Salma Hayek with a giant beard? Of course you haven’t (wink), but if you’re still curious about it, check out the new trailer for The Vampire’s Assistant.

Casting off one of the worst names I’ve seen in a while, The Vampire’s Assistant has gotten a late-October date with audiences who are hopefully not completely burnt out on vampires just yet.

The Taking of Pelham 1 2 3 is basically Deja Vu 2: Pelham 1 2 3, but that’s not such a bad thing.