
Guillermo del Toro, The Jim Henson Company, and Pathe are set to produce a 3D stop-motion animated adaptation of Pinocchio. Deadline reports that Gris Grimly and Mark Gustafson (animation director for Fantastic Mr. Fox) will direct the new version which will be “edgier” than the 1940 Disney adaptation. Grimly illustrated a 2002 book based on the character that will serve as the basis for the project. Del Toro and collaborator Matthew Robbins (Mimic, Don’t Be Afraid of the Dark) crafted the story with Robbins penning the script.
Hit the jump for more exciting details on this project, including the participation of writer/composer Nick Cave (The Assassination of Jesse James by the Coward Robert Ford).

With 2010 coming to a close, and the imminent arrival of an entirely fresh, unexplored, and unpredictable decade of cinema, what better time to start bombarding you with top ten lists of past highlights? We’ve done top ten posters, top ten trailers and top ten Christmas movies (and an alternate Christmas list for those who disagreed with the first).
This time: scores and soundtracks. There is a distinction between the two, but it’s murky, and as more and more films are using a mix of both original scores and pre-existing tracks, who are we to try to keep them separate? Hit the jump for more.

Shia LaBeouf has long been linked to The Wettest County in the World, a period thriller from director John Hillcoat (The Road). Of course, so were Amy Adams and Ryan Gosling, but those deals fell through. However, 24 Frames confirms LaBeouf’s involvement and identifies Tom Hardy (Inception) as his co-star.
The screenplay from Nick Cave (The Proposition) centers on “a family of Prohibition-era bootleggers, and crimes committed by and against them.” The film is an adaptation of the Matt Bondurant novel of the same name, based on a true story. Hit the jump for the synopsis.

I have a tough time envisioning Mark Wahlberg as goth, but he may getting into the white face paint. According to Bloody Disgusting, Wahlberg has been offered the lead in Stephen Norrington’s remake/re-adaptation of The Crow. This was a film I was completely uninterested in until musician/screenwriter Nick Cave (The Proposition) came on board to do a re-write. We don’t know much about the remake other than it will be set in Detroit and follow the same plotline of a man coming back from the dead to avenge his and his fiancée’s murder. However, before Cave came on board, we reported that Norrington’s reboot “will focus more on the mythology of the actual crow as a character with a distinct personality.” The Crow was originally played by Brandon Lee in the 1994 film. Other actors to play the role include Vincent Perez, Eric Mabius, and Edward Furlong.
Wahlberg will next be seen in David O. Russell’s The Fighter. He’s also attached to the thriller Contraband, and is considering The Odd Life of Timothy Green and Seth MacFarlane’s comedy Teddy Bear.

And just like that, I’m interested in Stephen Norrington’s remake of The Crow. The Wrap reports that writer/musician Nick Cave (The Proposition) has been brought on to re-write the screenplay for The Crow remake. Norrington wrote the original draft of the script, which was set in a southwestern area (e.g. Mexico or Arizona) and an urban location (e.g. Detroit or Pittsburgh). I can’t help but wonder if Norrington feels like he’s losing control again and flashing back to his last film, 2003′s The League of Extraordinary Gentlemen.
Cave’s most frequent collaborator is director John Hillcoat. In addition to The Proposition, Cave also wrote the scripts for Hillcoat’s Ghosts…of the Civil Dead and the un-produced The Promised Land and Death of a Ladies Man. Cave also wrote an amazing/batshit insane script for a Gladiator sequel. While I have no interest in The Crow as a character or his goth world, Cave’s involvement has instantly landed this movie on my radar.
Although there’s certainly no way this will raise more money for Haiti than the new “We Are the World” confab, I’m just as sure the folks who turned out for that didn’t have nearly as much fun as these guys and gals did.
Now, when you’re talking about a party convened by drunkard’s saint Shane Macgowan, things could have certainly gone South very quickly. But as you’ll see from the video, his view-askew all-star gathering of sorts to croon Screamin’ Jay Hawkins’ “I Put a Spell on You” actually turned out something remarkably listenable – and even bordering on good.
As you’ll see, the vocals are handled by sometime Pogue MacGowan, Nick Cave, Chrissie Hynde of the Pretenders, Bobby Gillespie of Primal Scream and Paloma Faith, and if you stick around to the end, you’ll find none other Johnny Depp contributes a passable guitar solo too. Hit the jump to see the video:

By now you’ve probably noticed that Steve got an ungodly amount of material from this year’s American Film Market (AFM). The place where buyers and sellers do business to bring you the films you’ll hopefully be seeing in the near future, AFM has tons of artwork and synopses which are used to promote films but which we will use to bring you news on these films. We have reached the last piece of our AFM coverage. It’s been a long and fruitful journey and you can follow it by reading parts Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, and Part 7 by click on their respective links.
Below you’ll find posters for Conan and The Promised Land (The Wettest County in the World), images and synopses for animated film Dorothy of Oz and Jackboots on Whitehall plus images and synopses for the live-action movies Singularity, The Last Dragon, and my favorite, Alien vs. Ninja. Hit the jump to check them all out. Please note that all the synopses are copied down directly from the original materials with no editorial alterations.

We’re going to need a word which is harsher than “bleak”. The word “bleak” does not do justice to The Road, John Hillcoat’s faithful adaptation of Cormac McCarthy’s novel. Set in an apocalyptic wasteland of nothing but ugly grey, “Man” (Viggo Mortensen) and his son “Boy” (Kodi Smit-McPhee) struggle with survival where the only point is to survive, and that’s not much of a reason. When suicide is the best thing in the world and the best use of a bullet is to kill your son to make sure he isn’t eaten alive by cannibals, you come to understand that “bleak” just doesn’t get the job done as far as adjectives go. Neither does “hopeless”, “grim” or “dismal”. But perhaps the greatest flaw of The Road isn’t its inability to conjure up dark adjectives, but that Hillcoat completely embraces the journey of his characters: pointless.
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