One would like to think that they're only asking for so much when they opt to see a flick titled Transporter 3, and that fulfills our end of the bargain. We, the audience, provide the expectations, however modest, and they, the filmmakers, provide the execution. Frank Martin knows when he has to deliver; after all, it's his job.

Olivier Megaton, on the other hand... not so much.

Megaton has taken on the job after serving as second-unit director on Hitman. Given that both stories are about stoic bald dudes kicking butt across Europe with a native femme in tow, I'd guess that's as good a qualifier as any, though not good enough in hindsight. Our stoic bald dude is Frank Martin, natch, and he's once again played by Jason Statham with all the steely glares and ab crunches that come with the territory (and seemingly every role he takes).

Back in September, standing outside of Austin's Paramount Theatre, myself and a couple of others listened to Darren Lynn Bousman as he talked about the challenges he was facing in getting Lionsgate to properly release his Repo! The Genetic Opera. The studio had taken down rave after rave after a select screening several months before, and now the next night's Fantastic Fest screenings were as good a chance as any to prove the film's worth.

Well, I saw the film the following night amidst an impressive turn-out of die-hard fans, so while I may have already made my own thoughts clear, I cannot deny its growing (and all but inevitable) cult following, and it seems that neither can Lionsgate. Following a limited release and successful road tour, Bloody Disgusting reports that each will be expanded in the weeks to come to include the likes of Phoenix, New Orleans, Boston, Philadelphia, and Houston.

As for everyone else, you can either keep your fingers crossed for a third tour (though Bousman and co-creator Terrance Zdunich may want to see their families for the holidays, who knows) or just wait for the DVD, which will apparently still hits stores in January.

With only two features to their credit -- they co-wrote and co-directed 2006's Crank, and together scripted this past spring's Pathology -- maybe it's a bit premature to declare myself a fan of the duo known as Neveldine/Taylor. (Even if that's the case, Eugene's got my back.) Yes, I'm the guy psyched for Crank 2: High Voltage, and I'm willing to give them the benefit of the doubt for other upcoming projects, such as the Gerard Butler actioner Game and the comic book adaptation Jonah Hex...

Well, now, the latter's lost maybe only a fraction of what precious little interest it had, as Neveldine/Taylor has reportedly walked away from directing the project, citing (and say it with me now) "creative differences." However, the implication from this Variety brief is that their script is already done and will be the same one that Josh Brolin is still tapped to star in (to Thomas Jane's probable dismay).

Something tells me that a film that's gathered this much attention to date won't go unmade, but it's now a matter of who will helm it. 2009 will remain the year of N/T regardless, with Crank 2 scheduled to open in April and Game in September.

Repo! The Genetic Opera is tailor-made to attract a fan following in coming years. To an extent, this stage-inspired future-set goth-rock horror musical already has, and its limited release – not to mention a concurrent road-show tour – is fitting for a film unique enough to never worry itself (nor its studio) with a screen count in the triple digits. This is a cult classic in waiting for Hot Topic teens who still believe that Tim Burton directed The Nightmare Before Christmas and won't know who Joan Jett is when she makes an appearance; the emphasis here falls heavily on 'cult' and not so much 'classic'.

The Halloween weekend scared up frighteningly weak numbers for bigger studio releases. How did independent films fare?

Winners:
1. My Name is Bruce (Image)
2. Noah's Arc: Jumping the Broom (Logo)
3. Religulous (Lionsgate)

Let's hear it for Bruuuuce! (Not, not Springsteen.) Ladies and gentlemen, the fabulous Bruce Campbell debuted at the top of the heap among limited releases, with a per-screen average of $18,800, according to estimates compiled by Box Office Mojo. Opening at one theater in New York, My Name is Bruce features Campbell as both star and director. Campbell's site lists upcoming screenings and appearances by The Man Himself.

Romantic comedy Noah's Arc: Jumping the Broom fared well in its second week of release, making an estimated $14,820 per screen, representing a normal drop of 50%. Are there enough loyal fans of the Logo TV series out there to support a wider release? It will expand to Detroit, Houston, San Francisco, Palm Springs, and Ocean, New Jersey on Friday; the official site has complete theater information.

Now in its fifth week, Religulous continues to draw audiences eager to see Bill Maher's take on organized religion. Earning $1,358 per screen, the film has grossed $11,452,000 so far; it recently became the highest-grossing doc of the year and is among the top 10 highest-grossing docs of all time, according to Docsider.

Not Winners / Indie Horror Scorecard:
1. Dear Zachary (Oscilloscope)
2. Splinter (Magnolia)
3. Eden Lake (Third Rail)

Despite our editor-in-chief's highest recommendation, Dear Zachary only made $2,800 at its single engagement. Perhaps word-of-mouth will build? That's still better than highly-regarded horror pic, Splinter, which managed only $2,200 each at four theaters (per Leonard Klady), or well-reviewed Brit thriller Eden Lake, which got dumped by the Weinsteins onto their loss-leader distribution arm Third Rail Releasing and drew just $550 per screen at 10 theaters.

When you shelled out nine bucks this weekend to see if Jigsaw would do anything new in Saw V (answer: nope), you were also contributing to a milestone. With the Friday-Sunday $30 million haul, the Saw series is now the highest grossing horror franchise in history, with a cumulative domestic gross of $316 million. Just think of all the microcassette tapes and countdown timers that kind of money could buy!

Of course, the other heavy hitters in this field -- Halloween, Friday the 13th, and A Nightmare on Elm Street -- were mostly released in the 1980s, when movie tickets were a lot cheaper. It's no surprise that a franchise launched in the 2000s would be more lucrative. Still, Saw has made its loot in just five films, compared to Elm Street's eight (including Freddy vs. Jason), Halloween's nine (including last year's remake), and Friday the 13th's eleven (including Freddy vs. Jason again).

A curious fact: Prior to this weekend, the race was surprisingly close. Box Office Mojo has the Friday the 13th series at $315 million, Elm Street at $307 million, and Halloween at $275 million. (Lionsgate's press release touting the Saw achievement has the Halloween series at $307 million, but I don't know where they're getting that from.)

But Jigsaw shouldn't rest on his laurels just yet. The Friday the 13th reboot due in February is liable to put Jason Voorhees in the lead again, although that will be short-lived if the seemingly inevitable Saw VI does indeed appear next October. If the Friday remake is successful, though, it could lead to more sequels and more competition. Personally, I'd rather have a mute, hockey-masked punisher as the all-time box office champ over a cancer-brained faux-intellectual who can't shut up. But that's just me! You can vote however you want. In the meantime, congrats to Saw for out-grossing Freddy, Michael, and Jason, and congrats to me for not making a pun on the word "grossing."

Naturally, today's release of Saw V (read our review) brings with it numerous trailers for early '09 horror offerings. Earlier this week, we received the first trailer for that Friday the 13th remake (which you can see here), and now we have two others.

First up is My Bloody Valentine 3D, the crotch-targeting poster for which Scott made mention of earlier today. Lionsgate is going to have trouble actually marketing this in 3-D, as family-friendly fare continues to dominate that format; thus, we have this somewhat hokey green-band number courtesy of IGN. (For what it's worth, several little birdies who had the good fortune to see some footage recently -- in all its R-rated, three-dimensional glory -- were seriously impressed. Nothing sells quite the same as airborne eyeballs...)

Finally, there's Underworld: Rise of the Lycans: third in the franchise to date, but first in our hearts terms of story continuity. Since Rhona Mitra came to so very much resemble Kate Beckinsale in last spring's Doomsday, it only makes sense that she formally take up the mantle in the war between werewolves and vampires. Be sure to check out this recently released trailer if you also want to see what it looks like when Michael Sheen isn't feuding with the werewolf-like Nixon.

Dear Midnight Meat Train,

It was so great to see you on Wednesday night at the old, one-screen Clay Theatre in San Francisco. Pretty awesome that someone caught your pitiful theatrical release and decided to book you for a two-night run here. Actual people do things so much better than corporations sometimes.

Anyway, there's no easy way to say this: I love you. In fact, I think I might be in love with you. Deep inside I think you know the depth of my affection. But let me list just a few examples of your awesomeness.

I love how artfully, how meticulously, you were directed. You're freakin' beautiful, is what you are. What happened to the Ryuhei Kitamura who made the smug, ugly, useless Versus? I wasn't prepared for this evocative, moody plunge into bleakness. Every shot is a wonderfully unreal composition of light and shadow; every angle and camera move seems calculated to make you as unsettling as possible.

I love that you took the time to get the details right. The little things -- they're so difficult. The relationship between the main character and his girlfriend/fiance is believable and sweet; there are some genuinely lovely scenes in the first half, moments where you just pause to regard these people outside of the plot. And those photos that are supposed to make Leon a star in the New York art world? Those are actually some great freakin' photos. I bought it, y'know?

The advertising promises "You won't believe how it ends," but the problem with Saw V isn't so much its ending, it's everything that comes before. Oddly toothless, the entire flick feels like it exists solely as preamble for Saw VI. The greatest tension I felt was waiting for the movie to begin. I kept waiting, and waiting, and waiting, and then the end credits began to roll and I realized the movie had, in fact, ended. As one of the characters says, "Fool me once, shame on you. Fool me twice, shame on me."

The last installment, Saw IV, was both an origin story and a mild-tempered reboot of the series. Writers Marcus Dunstan and Patrick Melton (Feast) endeavored to provide deeper motivation for the Jigsaw Killer, AKA John Kramer (Tobin Bell), by introducing his ex-wife, Jill Tuck (Betsy Russell), and explaining that it was her tragic miscarriage years in the past that eventually set him on his deadly path. Jigsaw died at the end of Saw III, so Saw IV also had to resurrect him somehow, which was achieved by making the events of Saw IV concurrent with those of Saw III and introducing a new successor, Mark Hoffman (Costas Mandylor), to carry on Jigsaw's "work."

Got that? I know, it's already way too complicated, which is one of the reasons Saw IV was such a drag; it felt like a dry police procedural interrupted by brief scenes of screaming torture. But hold on, because Saw V insists on revisiting the events of the first four films, this time inserting Jigsaw's successor as he is trained for the work ahead. I felt like I was watching Forrest Gump or Zelig, with some fictional phony inserted into historical events.

As I discovered yesterday, it doesn't always pay to make assumptions, so this time I'm going to let the news speak for itself. Over at AICN, a loyal reader and reviewer named "Sexy Whisk" managed to score a seat at an early preview of Gerard Butler's Game and provided us all with some very special deets. Judging from what they had to say, it's not looking good for the video game-inspired flick. So where to begin? According to the review, the action is a let down, the cast is wasted, and most of the film rides a fine line of creepy and offensive (if you don't believe me, you can read the full review here).

Game stars Butler as the leading player in an online fight to the death. This Running Man-style narrative has the added twist that the players in this game are controlled by the viewers (apparently by brain chips and nano-technology), but it all gets a little complicated from there. Remember, this is a movie from the men who brought you the Crank series, (Mark Neveldine and Brian Taylor) so it's not like realistic plot points are their specialty. Joining in on the fun are Michael C. Hall (Dexter) as the nefarious creator of the game, and Heroes' Milo Ventimiglia as another player with the charming name of Rick Rape.

Despite what "Sexy Whisk" might have to say, I guess that is the beauty of a movie review -- it's just one opinion after all. (And since this was a test screening, there's still a chance the filmmakers will change some things around.) So for those of us who can't say no to an action flick (or a shirtless Gerard Butler), keep in mind it is not over yet. Maybe Lionsgate will take the hint and perform a little spit polish and shine before Game hits theaters in 2009.

Oliver Stone's docudrama W. opened last week to mixed critical response (including our own review) and a modest box office take of just over $10 million. Now, as Stone has promised in interview after interview, a rather thorough fact guide has been posted online, a bibliography with which one can corroborate several facts in a film admittedly filled with all manner of re-enactment and artistic license.

For those much more inclined than I, there are over eighty pages to delve into regarding where dialogue was lifted from actual quotes and where inference was otherwise made, like an exhaustive scene-by-scene commentary or (I'm guessing) a similar supplement for the eventual DVD release.

To quote Stone off his MySpace profile: "I am not trying to be a historian; I'm a dramatist -- and sometimes one who does a dramatic interpretation of history." Even those who enjoyed the film can't deny that statement as being just as accurate -- if not more so -- than anything in the film, and as for those who didn't, they might now struggle to say it was for lack of research.

A few months back I spent a couple of hours in Pittsburgh on the set of Patrick Lussier's My Bloody Valentine 3D, and I was pretty impressed with the enthusiasm and sincerity the crew members exhibited for the project. (Especially where the nifty 3D work is concerned.) The Lionsgate remake doesn't hit theaters until mid-January, but it's a project the horror fans have been quite intrigued by so far. (Also toss Dimension's 3D remake of Piranha into the mix.) Starring Jensen Ackles, Kerr Smith, and the gorgeous Jaime King, MBV3D is about a mysterious killer who stalks the Valentine partiers in a small coal-mining town.

And let's just say the early marketing materials are not subtle:



Is it me, or is that guy about to get pick-axed in the groin region? And I love the cleavage. Thanks to UGO for the poster and BD.com for the tip.

Though I doubt this'll be news to anyone already psyched for this film (of which there are many some?), it looks like this Thursday night brings with it a marathon of the Saw series at select AMC locations (the list is after the jump), leading up to the midnight premiere of Saw V.

I actually took part last year (the first for the event, I believe), having felt a need to dust off #1 and brush up on #3, and having had no great qualms at sitting through #2 (my favorite to date), all for the same one-time admission. The cost has been bumped up to $15 this year, but that's still a relative bargain for all the bone-cracking action you can stand.

It was an exhausting effort to go eight straight hours, let me assure you, and one that I don't see myself repeating this year to the count of ten. I've admitted my franchise fatigue elsewhere, so leave it to Scott to be a bit more positive about the prospect of this weekend's second-most horrifying new release (that's right, HSM fans, I'm talking to you).

[Thanks to Fangoria for the theater listings.]