Despite estimates for the movie's opening weekend having been raised following Thursday's midnight opening, Friday's tally of "only" $27 million has made industry viewers nervous that Legend's $77.2 million record will be left untouched by the end of the weekend, despite increased ticket prices from IMAX sales, in part because of winter storms keeping potential audiences indoors.

Nonetheless, the Friday tally was Fox's biggest opening day outside of the summer blockbuster season, and even before the movie opened, director James Cameron was talking about the weekend box office not being too important in the long run:

I don't think were going to know where we land for about three weeks. Everybody in our business is so programmed to have a final decision on Monday morning, but I think Monday won't mean anything. I think it will tell us what our opening was, but it won't tell us what we'll do the next weekend... Does (the response) translate to positive word-of-mouth for women? Do we fall less because of the 3D and emotionality? We don't yet. It's a big experiment right now.

Our bet? Next weekend won't see the usual massive drop-off, as a mix of the effects and the holidays will drive people to repeat viewings. In the long term, though...? It's not going to be another Titanic, but will it have similar word-of-mouth success?

It's a dicey proposition, calling something overrated, not least of all because it can seem like more of an insult than it's intended to be. For example, Battlestar Galactica was, at best, an amazing piece of television that managed to be thought-provoking, entertaining and addictive on a regular basis... but, by the time it closed out its run earlier this year with appearances at the UN and declarations of it being the greatest show on television ever, things were getting pretty close to overrating it. Personal taste comes into play a lot, as well; we're guilty of that as much as anyone (The strength of my Pushing Daisies love may have been somewhat out of proportion with the show itself, for example).

What we're looking for, then, isn't just the name of something (Movie, TV show, comic, book, creator, whatever) you consider overrated, but why. And, feel free to defend slighted favorites if you feel the need. We're just curious what you all think isn't as good as everyone thinks it is... Just make sure that The Venture Bros. isn't on the list, or there'll be trouble.

It's tempting to just leave it with a cheap shot and say "Have you seen Valkyrie?" but our concern for First Class is slightly more genuine than that. We'll grant you that Singer's first two entries in the X franchise are easily the best two movies in the series to date, and also that he clearly has a lot of love for the characters. We just don't think that he should've come back, is all.

We can see why Singer would be tempted by the lure of returning to the X-Men movies; not only were they arguably his creative highpoint outside of The Usual Suspects, but they were clearly his financial highpoint (Compare X2's $85,558,731 opening weekend with Superman Returns' $52,535,096 - the latter, in fact, is even lower than X-Men's opening, despite the first X-Men movie having to deal with lower awareness than the first movie featuring one of the most well-known fictional characters in over a decade). As his other projects seemingly stall for one reason or another - Remember his Logan's Run remake? Or, from earlier this year, his Battlestar Galactica movie reboot? - there has to be a sense of security in returning to an already successful franchise and the adoration of millions of fans for whom his work is the benchmark of quality. But those expectations become a double-edged sword (Quadruple-edged? There are two separate sets of expectations, after all): Charged with not only maintaining the financial success of the franchise but also reigniting hardcore fan excitement for it, Singer has landed himself in a high-profile situation very unlike what the one he was in first time around. All sets of eyes will be on his every move, not just comic fans critical that Wolverine is too tall and not Canadian. How would Singer react if Richard Donner visited to make sure the franchise was being maintained in the proper manner, as he did for X-Men Origins: Wolverine director Gavin Hood? What happens if Singer's ideas for First Class don't fit in with any of the other movies being simultaneously developed for the franchise?

It sounds both trite and obvious, but X-Men as a concept is about evolution, not devolution. Sure, it's also a civil rights metaphor and a superhero story, but at the heart of it is the idea of coming to terms with something new and different, even if (especially if) that something new and different had previously been something as familiar as ourselves or our loved ones. With that in mind, bringing Singer back to the franchise seems counter-intuitive at best. We've already seen what he thinks of the characters and is capable of; why can't someone else play with the toys and bring something else to them now?

It would be different if X-Men: First Class hasn't been revealed to be exactly the prequel that it sounds like - According to Singer himself, the movie will focus on

the formative years of Xavier and Magneto, and the formation of the school and where there relationship took a wrong turn... There is a romantic element, and some of the mutants from 'X-Men' will figure into the plot, though I don't want to say which ones.

- but knowing that it is just the backstory to what we've already seen (like X-Men Origins: Wolverine, as well; It's worth wondering why Fox seems scared to make movies set after X-Men: The Last Stand. Yes, it was a bad movie, but that bad?) saps the possibility of true surprise. We know where the main characters end up, even if we hadn't read the original comics. Hiding in the past and clinging onto what you know may sum up the attitude of most of those making X-Men comics for the last two decades, but that doesn't mean that it's not missing the point of the story they're supposed to be telling.

(Selfishly, we would much rather have seen Josh Schwartz' take on the idea, now sadly dumped to make way for Singer. Not only is he new to the franchise, but his other work - be it The OC, Chuck or Gossip Girl - suggests that he could've brought a new tone to the movies, a lighter one that could also be more in tune with the teen characters First Class is said to feature in addition to the younger Xavier and Magneto. Somewhere, there's probably a great script out there...)

We're not doubting that Singer's First Class will be a financial success - He's not a bad filmmaker, after all, and if the franchise is strong enough for The Last Stand to be a massive hit, it's unlikely he could sink it unless he was really trying - but, in terms of the quality of the movie? We kind of wish he'd passed, realized that he'd done his part already, and moved on to fresher pastures, allowing someone else to take the wheel. As it is, he's setting himself - and us - up for the possibility of disappointment and frustration. They say you can't go home again for a reason, after all.

Lessons to be learned from seeing these posters all together in one place:

(1) The Eyes Have It. Apparently, it's unsettling to have giant eyes looking out at you. Who knew?

(2) Wherever Possible, Have As Much Red And Black. Blood and darkness. Who said the old classics don't work today?

(3) In The 1980s, Glowing Things Were Scary. Okay, this one, we can't help you with.

Evolution of Horror Movie Posters 1922-2009 [HongKiat]

The British Court of Appeals upheld the original British verdict that the familiar white-and-black costume couldn't be considered copyrighted because it wasn't art. Instead, the costume has been considered "industrial design," and therefore only allowed to keep copyright for 15 years after creation. British Lord Justices Rix, Jacob and Patten considered the look of the Empire's cloned warriors to have a "utilitarian," rather than artistic, purpose, and denied Lucasfilm the right to enforce their US copyright in the United Kingdom.

It'll be interesting to see how this ruling could affect future British copyright cases. Can British companies now produce merchandise based on any movie or television designs, as long as they're older than 15 years, and use this as a defense? The Cybermen have been around for almost three times that long, let's see if someone's brave enough to test the BBC's legal wrath.

George Lucas loses court appeal over Star Wars costume copyright [Times Online]

Whether Avatar is racist is a matter for debate. Regardless of where you come down on that question, it's undeniable that the film - like alien apartheid flick District 9, released earlier this year - is emphatically a fantasy about race. Specifically, it's a fantasy about race told from the point of view of white people. Avatar and scifi films like it give us the opportunity to answer the question: What do white people fantasize about when they fantasize about racial identity?

Avatar imaginatively revisits the crime scene of white America's foundational act of genocide, in which entire native tribes and civilizations were wiped out by European immigrants to the American continent. In the film, a group of soldiers and scientists have set up shop on the verdant moon Pandora, whose landscapes look like a cross between Northern California's redwood cathedrals and Brazil's tropical rainforest. The moon's inhabitants, the Na'vi, are blue, catlike versions of native people: They wear feathers in their hair, worship nature gods, paint their faces for war, use bows and arrows, and live in tribes. Watching the movie, there is really no mistake that these are alien versions of stereotypical native peoples that we've seen in Hollywood movies for decades.

And Pandora is clearly supposed to be the rich, beautiful land America could still be if white people hadn't paved it over with concrete and strip malls. In Avatar, our white hero Jake Sully (sully - get it?) explains that Earth is basically a war-torn wasteland with no greenery or natural resources left. The humans started to colonize Pandora in order to mine a mineral called unobtainium that can serve as a mega-energy source. But a few of these humans don't want to crush the natives with tanks and bombs, so they wire their brains into the bodies of Na'vi avatars and try to win the natives' trust. Jake is one of the team of avatar pilots, and he discovers to his surprise that he loves his life as a Na'vi warrior far more than he ever did his life as a human marine.

Jake is so enchanted that he gives up on carrying out his mission, which is to persuade the Na'vi to relocate from their "home tree," where the humans want to mine the unobtanium. Instead, he focuses on becoming a great warrior who rides giant birds and falls in love with the chief's daughter. When the inevitable happens and the marines arrive to burn down the Na'vi's home tree, Jake switches sides. With the help of a few human renegades, he maintains a link with his avatar body in order to lead the Na'vi against the human invaders. Not only has he been assimilated into the native people's culture, but he has become their leader.

This is a classic scenario you've seen in non-scifi epics from Dances With Wolves to The Last Samurai, where a white guy manages to get himself accepted into a closed society of people of color and eventually becomes its most awesome member. But it's also, as I indicated earlier, very similar in some ways to District 9. In that film, our (anti)hero Wikus is trying to relocate a shantytown of aliens to a region far outside Johannesburg. When he's accidentally squirted with fluid from an alien technology, he begins turning into one of the aliens against his will. Deformed and cast out of human society, Wikus reluctantly helps one of the aliens to launch their stalled ship and seek help from their home planet.

If we think of Avatar and its ilk as white fantasies about race, what kinds of patterns do we see emerging in these fantasies?

In both Avatar and District 9, humans are the cause of alien oppression and distress. Then, a white man who was one of the oppressors switches sides at the last minute, assimilating into the alien culture and becoming its savior. This is also the basic story of Dune, where a member of the white royalty flees his posh palace on the planet Dune to become leader of the worm-riding native Fremen (the worm-riding rite of passage has an analog in Avatar, where Jake proves his manhood by riding a giant bird). An interesting tweak on this story can be seen in 1980s flick Enemy Mine, where a white man (Dennis Quaid) and the alien he's been battling (Louis Gossett Jr.) are stranded on a hostile planet together for years. Eventually they become best friends, and when the alien dies, the human raises the alien's child as his own. When humans arrive on the planet and try to enslave the alien child, he lays down his life to rescue it. His loyalties to an alien have become stronger than to his own species.

These are movies about white guilt. Our main white characters realize that they are complicit in a system which is destroying aliens, AKA people of color - their cultures, their habitats, and their populations. The whites realize this when they begin to assimilate into the "alien" cultures and see things from a new perspective. To purge their overwhelming sense of guilt, they switch sides, become "race traitors," and fight against their old comrades. But then they go beyond assimilation and become leaders of the people they once oppressed. This is the essence of the white guilt fantasy, laid bare. It's not just a wish to be absolved of the crimes whites have committed against people of color; it's not just a wish to join the side of moral justice in battle. It's a wish to lead people of color from the inside rather than from the (oppressive, white) outside.

Think of it this way. Avatar is a fantasy about ceasing to be white, giving up the old human meatsack to join the blue people, but never losing white privilege. Jake never really knows what it's like to be a Na'vi because he always has the option to switch back into human mode. Interestingly, Wikus in District 9 learns a very different lesson. He's becoming alien and he can't go back. He has no other choice but to live in the slums and eat catfood. And guess what? He really hates it. He helps his alien buddy to escape Earth solely because he's hoping the guy will come back in a few years with a "cure" for his alienness. When whites fantasize about becoming other races, it's only fun if they can blithely ignore the fundamental experience of being an oppressed racial group. Which is that you are oppressed, and nobody will let you be a leader of anything.

This is not a message anybody wants to hear, least of all the white people who are creating and consuming these fantasies. Afro-Canadian scifi writer Nalo Hopkinson recently told the Boston Globe:

In the US, to talk about race is to be seen as racist. You become the problem because you bring up the problem. So you find people who are hesitant to talk about it.

She adds that the main mythic story you find in science fiction, generally written by whites, "is going to a foreign culture and colonizing it."

Sure, Avatar goes a little bit beyond the basic colonizing story. We are told in no uncertain terms that it's wrong to colonize the lands of native people. Our hero chooses to join the Na'vi rather than abide the racist culture of his own people. But it is nevertheless a story that revisits the same old tropes of colonization. Whites still get to be leaders of the natives - just in a kinder, gentler way than they would have in an old Flash Gordon flick or in Edgar Rice Burroughs' Mars novels.

When will whites stop making these movies and start thinking about race in a new way?

First, we'll need to stop thinking that white people are the most "relatable" characters in stories. As one blogger put it:

By the end of the film you're left wondering why the film needed the Jake Sully character at all. The film could have done just as well by focusing on an actual Na'vi native who comes into contact with crazy humans who have no respect for the environment. I can just see the explanation: "Well, we need someone (an avatar) for the audience to connect with. A normal guy will work better than these tall blue people." However, this is the type of thinking that molds all leads as white male characters (blank slates for the audience to project themselves upon) unless your name is Will Smith.

But more than that, whites need to rethink their fantasies about race.

Whites need to stop remaking the white guilt story, which is a sneaky way of turning every story about people of color into a story about being white. Speaking as a white person, I don't need to hear more about my own racial experience. I'd like to watch some movies about people of color (ahem, aliens), from the perspective of that group, without injecting a random white (erm, human) character to explain everything to me. Science fiction is exciting because it promises to show the world and the universe from perspectives radically unlike what we've seen before. But until white people stop making movies like Avatar, I fear that I'm doomed to see the same old story again and again.

Dune image via leywad.

Variety announced today that Peter Segal, who did make the very funny Tommy Boy but is also responsible for countless comedic failures, is directing the comedy Neighborhood Watch, which is about a man who takes over his local Neighborhood Watch only to find out that the neighborhood is haunted. Hilarity, no doubt, ensues.

We shudder to think which comedian will be lined up to make this classic late-night TNT movie. My vote goes to Davie Spade.

Reviewing Metropolis, Wells wrote:"Never for a moment does one believe any of this foolish story; for a moment is there anything amusing or convincing in its dreary series of strained events. It is immensely and strangely dull. It is not even to be laughed at. There is not one good-looking nor sympathetic nor funny personality in the cast; there is, indeed, no scope at all for looking well or acting like a rational creature amid these mindless, imitative absurdities."

The visual differences between Metropolis and Wells' Things To Come are staggering. And if it's necessary to pit these two films against each other in cinema bloodsport, it's difficult to determine a winner. The raw creativity and invention of the images in Things To Come still resonate over seventy years later: workers float through a bright industrial landscape of bubbling fluids in huge transparent vats and spiral staircases that go on forever. The images associated with Metropolis are certainly less fantastic, but iconic. It seems that history has already chosen a winner, and it's Metropolis in a cyborg landslide.

Both films serve as cautionary tales to the audience, but Things To Come tells a much more interesting story with a much wider scope. It is simply epic, regardless of its short running time. Metropolis warns us of removing the human element from our visions of the future, but Things To Come does what is required of great science fiction: It holds up a tremendously ornate mirror to our own prejudice and assumptions, and then requires us to make (and live with) our own decisions.

In Things To Come, a world war launches in 1940, and lasts 30 years, until nobody can remember why it started. The world descends into medieval squalor, and Everytown is run by an evil Boss — until a flying machine, piloted by Cabal, a representative of a group of enlightened scientists and thinkers, appears. The Boss and Cabal fight for control, until Cabal drops "Peace Gas" and wins. And we see 70 years of progress pass by in a montage, as humanity rebuilds its shattered world. But then in the year 2036, in an idealized future utopia, we see the battle between luddites and the representatives progress play out again, as the luddites seek to sabotage the futuristic Space Gun. It never stops.

You can watch the whole thing online at the Internet Archive.

Mark Millar talked to Comic Book Resources about the "making of" book, Kick-Ass: Creating the Comic, Making the Movie, coming in February from Titan Books:

Having already seen the finished "Kick-Ass" movie six times, Millar shared some details that will be found inside the Titan title with CBR News, like the fact that Daniel Craig and Mark Wahlberg were also considered for the part of Big Daddy and that Kick-Ass wasn't even the original star of the comic.

I can't even imagine Mark Wahlberg being able to take the role of Big Daddy seriously. And on balance, we're still pretty glad it's Nic Cage. Who else blends human psychosis and fatherly love ever so perfectly?

Millar also explained what the second volume of Kick-Ass (and possibly the second movie, if the first one does well enough) will be called, and when to expect it:

The working title is "Balls to the Wall," and we're thinking about launching it round about San Diego time, right around August. But to avoid delays, we'd like to stockpile a few issues, I think.

Plus they have a load of new Kick-Ass concept art from the new movie book, as seen above and below. More images at CBR.

[Comic Book Resources]

Collider announced that Laurence Fishburne would be joining Robert Rodriguez team as a character named Noland. So far, there are no details about his character, but having Fishburne around is never a bad thing. We'll take the red pill, wake up tomorrow, and hope that Predators is, in fact, the fantastic movie it deserves to be.

Perhaps Laurence Fishburne may take up the character Stans, who is a prisoner with a shaved head, neck tattoo, but that is all merely speculation at this point.

As Cameron does press for Avatar, he's been asked again and again what he thought of Terminator Salvation, which he apparently watched on his hotel-room TV late at night, over three consecutive nights. The first few times, Cameron was pretty nice, telling MTV back on Dec. 9:

It's better than I thought it was going to be... It's actually quite reverential to the mythos of the 'Terminator' world," he said. "I think McG and the writers tried hard to keep reacquainting you with some of those ideas in the story that they were weaving. So actually I thought it was pretty cool. I did feel that it sort of lacked Je ne sais quoi. Although I love Sam [Worthington] in it.

But today, talking to the Toronto Sun, he was a bit more damning:

I've moved on creatively from The Terminator, so I'm not really interested in that imagery and even those ideas anymore - and I'm not sure the world is that interested either. It's run its course, I feel... [Arnold Schwarzenegger's] persona was part of The Terminator and when you uncouple those, you get Terminator Salvation, which is actually a fine film from a pure filmmaking standpoint - it just doesn't gel up into anything mind-blowing... I wish I hadn't sold the rights for one dollar.

Apparently Cameron sold the movie rights for a dollar in exchange for the right to direct the first movie. He adds:

If I had a little time machine and I could only send back something the length of a tweet, it'd be - ‘Don't sell.'

I sort of like the idea that James Cameron sits around fantasizing about twittering backwards in time.

Daybreakers will be in theaters January 8th 2010.

Variety reports that Lionsgate is moving forward with The Panopticon, a spec script by Lost story editor Craig Rosenberg, who also penned the American version of the South Korean psychological horror film The Uninvited. Lionsgate has tapped The Haunting in Connecticut's Peter Cornwell to direct.

The elevator pitch is that a salesman receives a pre-recorded message from himself saying he is the only one who can prevent the impending apocalypse. But the script has been floating around fro a while, and FirstShowing's Ethan Anderton promises there's more to the movie than meets the eye:

Without ruining too much of the story (having read the script) the conflict comes from not knowing exactly who to trust as the "good guys," including the main character himself. Plenty of twists and turns make for an edge-of-your seat kind of experience that should make for some very fresh entertainment after it goes into production next year. A saving-the-world plotline might seem a bit heavy handed nowadays, but believe me, this is one of those stories that you'll want to keep untainted until it hits theaters.

Peter Cornwell Directing New Sci-Fi Thriller 'The Panopticon' [FirstShowing]

Variety announced Rene Russo would be playing the role as Frigga, whose husband Odin, to be played by Anthony Hopkins. Frigga is the stepmother to both Thor and Loki, and Loki will become the central villain in this tale, played by Tom Hiddleston.

In other Thor news, the folks over at IGN noticed that Joseph Gatt has a special announcement on his personal website, that he is

"prepping for his most prominent job to date: a (secret) role in the forthcoming Marvel Studios film Thor, slated for release in 2011."

He doesn't say who he is playing, but already the internet is guessing it's for the role of Skurge the Executioner, which he does have the build for. And at least now we know there will most likely be more than one bad guy.

According to The LA Times Eisner is set to direct the latest remake. And it sounds, thank goodness, as if the film will be sticking to the original creep-fest's script, about a mother who telepathically communicates with her mutant babies, causing them to kill.

Here's the original synopsis:

A man tries to uncover an unconventional psychologist's therapy techniques on his institutionalized wife, while a series of brutal attacks committed by a brood of mutant children coincides with the husband's investigation

The film is slated for early 2010, which means we won't be short of any remakes this year. What with The Crazies, The Creature from The Black Lagoon, Wolf Man and others

The official name for the Empire Strikes back spoof is Something Something Something Dark Side, and it'll be on DVD & Blu-ray 12/22.

IESB is reporting that production on Spider-Man 4 (known internally as SPIDER-M4N) halted indefinitely last Thursday and won't start up again until Raimi and the Sony Picture executives come to some agreements. It seems that the script remains unfinished because the parties can't come to an agreement on the villain.

According to someone working on the production, Raimi is campaigning for the Vulture as the fourth movie's villain, while Sony doesn't think the Vulture will sell tickets. Perhaps this explains some of the conflicting villain rumors we've been hearing. Word is there's a lot of anger coming from the production camp, but filming can't move forward until decisions are made and the script is fleshed out.

Update: MTV talked to a studio rep who is denying IESB's report, saying the only shutdown going on is a planned shutdown for the holidays. The rep goes on to say that, while the script is still being worked on, it's standard pre-principal photography tinkering.

SPIDER-MAN 4 Production on Indefinite Hold [IESB]

Disney shared this image with a handful of lucky fans who registered via Tron's Facebook page, and presumably it'll be zooming over freeway overpasses at some point in the next few months. Bigger version at the link. [StitchKingdom]

This trailer is a lot wackier than one we saw earlier this year (also in Korean):

And here's an inexplicably long English-language explanation of the film.

Yes, it's your classic researcher-vs-giant-pig movie.

Pretty cool, but but this pig will never be as scary as the wormy megapig spirit from Princess Mononoke!

via Undead Backbrain (Thanks, Avery "Mondo Kaiju" Guerra!)

Uh oh, Pepper looks pissed. And Tony looks alone. What happened to all his friends?

Garry Shandling makes his big debut as Senator Stern, so Tony mocks him, naturally.

See Tony is alone. Empty chairs. Empty soul. It's lonely at the top.

But wait, it's Rhodey, he's back...and he looks pissed. And who's that to Rhodey's left? It's Sam Rockwell, as Justin Hammer. Did they walk in together? And where did Pepper go? Where's Happy?

Same sexual chemistry between Pepper and Tony, check. But then again I think RDJ is so charming he could have chemistry with a lamp post... lucky lamp post.

Iron Man is America, and a rock star. And look in the background — it's the Iron Man dancers, thus proving the slutty Halloween rule to be true: any outfit can be made whorish.

These gloves could very well be the best little party favors ever. Please hand these out at Comic Con!

Whiplash is obsessed. See? See? He has newspaper clippings. And newspaper clipping are to stalkers what glasses are to shy mousy girls with a hot girl dying to get out inside: stereotypical. But let's assume that since he's spent so much time cataloguing the family story, that this grudge may go way, way back. Since he's had time to make a scrap book.

Who hit Tony?

The garage is all cleaned up and stocked with new rich guy toys. Bruce Wayne who?

What is happening to Tony's neck?

Yikes it's spreading. Tony is literally turning into an Iron Man. Also, he could be turning into a human computer, which has happened in the Iron Man comics before.

More Justin Hammer, and in perfect timing with Whiplash's "shark" comment.

Nick Fury just wants to get motherfucking Tony onto the motherfucking team.

More Iron Man-ettes. I suspect this may be a banner year for the cosplay fans.

Scarlett Johansson as Natasha Romanoff in her Black Widow "business casual" attire.

War Machine prototype!

Is the Black Widow working for Rhodey? Is that her in the background?

Black Widow in her ass kicking attire, is she beating up Happy? I bet Jon Favreau just loved that.

Whiplash finally shows us what his lightsaber whips can do — which is break Tony's car.

Which he does.

I'm still not sold on the Whiplash outfit, but it does look pretty bad ass from behind.

Uh oh — will Tony be Whiplashed in half, or will the bad guy just show off some more? Answer: Show off.

Whiplash has nasty metal mouth.

What is this flying contraption? It looks like it's shooting at Iron Man? Multiple Mecha suits?

A first look at War Machine, and Tony's new suit, with a triangle chest plate. Is this due to the metal veins? Also the background is filled with power suits, almost like an Armor War...

War Machine and Tony fight other mechas and you get a faceful of War Machines shoulder gun, and Tony's fully reconstructed suit, Mark VI. Very nice. So who thinks they are filming the Armor Wars story?