So in Witches Of Breastwick, there's an ancient witch who died or something, and now she fucks men to death if they come too close to her cabin. And a group of young witches have their eye on some strapping young dude whom they want to sacrifice to her. Meanwhile, Bare Wench Project is pretty much what you'd expect: A group of people ventures into the woods and discovers the sinister truth behind the Bare Wench, who makes them horny:

And here's what happens towards the end of the movie, when everything is unraveling and the Bare Wench has them in her sway:

So what do you think?

Since Edgar Rice Burroughs' books are public domain, Asylum is fre to create their own take on the story of Deja Thoris, even to the point of inflicting Traci Lords on us again. And of course, they get to tie in with the John Carter-inspired Avatar as well as the eventual John Carter movie.

Here's that trailer:

And here are some utterly dismal sills, showing Traci Lords in her be-bikinied glory:

[via Slashfilm and Undead Backbrain]

Our research intern, Cyriaque Lamar, pored over the most wretched and bizarre book covers that ever defaced the bookshelves, and came up with the absolute worst and most inappropriate. Normally, I feel a little trepidation about saying we've collected the cheesiest or wrongest "of all time" — but in this case, it only feels right. So here are Cyriaque's picks, with his erudite commentary.

Cheesiest Book Covers:

Most Inappropriate Book Covers (Maybe NSFW):

Additional reporting by Cyriaque Lamar.

This amazing scene comes from Dollman Vs. Demonic Toys, a film so fantastic it's actually a sequel to three different movies. Eat your heart out, X-Men 3. Brick Bardo, aka Dollman (Tim Thomerson), is the hero of Dollman, the story of an alien cop who just happens to be a few inches tall and winds up on Earth fighting crime from a unique perspective. Ginger is one of the women who got shrunk by the evil radio-station monsters in Bad Channels, which we featured a while back. And the demonic toys are from Demonic Toys, a movie about possessed playthings trying to raise Satan. Nobody will believe Tracy Scoggins that the toys are evil, which is why she's been suspended as a cop.

Poor Ginger thinks she's doomed to loneliness as the only doll-sized human, until Dollman comes into her life. But he's not the only one who's excited to have a tiny woman around — the demonic toys want to impregnate her with their miniature Satanic baby, who will grow up to be a doll-sized Antichrist. Here's a great scene where the toys attempt to kill Brick Bardo by pulling him apart with toy trucks, while promising Ginger that soon enough, "We're going to bump and grind."

Dollman Vs. Demonic Toys is only an hour long, and at least ten minutes of that is flashbacks to the three movies it's a sequel to. But somehow, it manages to pack in as much WTFery as three regular films.

According to Empire Online, I Am Legend director Francis Lawrence and screenwriter Chad St. John are planning to take DC's war veteran into the future with the adaptation, in order to overcome studio nerves about a period setting and racist wartime attitudes. If true, this suggests that not only does Warner Bros. miss the point of the character altogether (Sgt. Rock is a series about a soldier in World War II! The time frame is the entire point!), but also that we have another potential comic-to-movie disaster on our hands. Then again, Lawrence has experience of both, having directed the Hellblazer adaptation Constantine, starring the not-so-British Keanu Reeves.

Is Sgt. Rock Finally Happening? [Empire Online]

Science fiction/fantasy sculpturist Vincent Villafranca turned us on to Bigfoot and Wildboy the other day, and now we're obsessed with watching all the episodes on Youtube. It's just so wrong, from the Sean Cassidy-haired Wildboy to Bigfoot's penchant for leaping high up in the air so that his shaggy crotch occupies the dead center of the screen. THis is the reason our formative years were more like deformative years. The opening credits tell the story:

And here's Wildboy coming face to face with a sexy vampire who has a bunch of cave people in her thrall. I'm going to go out on a limb and say vampires were sexier in the 1970s:

And here he is, dealing with some space aliens, by screaming "BAYABAAA" and leaping in the air. Notice how every time he leaps in the air, it looks exactly the same? That's not because they reused the same footage of Bigfoot on a trampoline or anything — it's because Bigfoot is a gymnast, a finely tuned machine whose every leap is perfect.

Here's another great random snippet. "Suzy...Control box. Bigfoot...wait."

[Thanks Vincent! We think.]

Syfy president Dave Howe explains to the Hollywood Reporter:

"We've always been keen on vampires and werewolves, and we loved the originality of Being Human, the fact that the fantastical creatures in it are very young, accessible and charming."

They loved the originality of it so much, they decided to remake it.

Syfy has ordered 13 episodes of a remade Being Human, which could appear on screens as early at next fall. Across the pond the original Being Human gears up for its second season this January. Howe promised this won't be a poor recreation of the series, seeing as most Syfy watchers probably have seen the original, but we've been burned before.

I was one of the loudest haters of the American-ized Office before it aired, because British humor and sensibilities don't translate well in the States. But the show hired good writers, invested in the production and found a wonderful cast. It's engaging, even though it lacks that dry British wit that made me fall in love with the original, and despite the lack of Ricky Gervais and the arguable fact that the American version has been around for far too long, it's still funny. (Though I shudder to think of Jim and Pam, "the baby years.") That said, for every successful Americanized show, there are many dismal translations, such as Life on Mars, Coupling, and a host of other terribly translated or poorly copied series.

Being Human is a completely different show from The Office. You can not translate the kind of dark humor that parallels the main characters lives, without the flippant British style that manages to just slip in a turn of phrase here and there. That humor is what makes the whole idea that a ghost, vampire and werewolf all living together in real life believable, the whole casualness of it all.

The writing is woven together so perfectly. Take the shocking weirdness that comes when we see one character's vampire porno, in which one person cannot be recorded because they're a vampire. The vampire porno itself becomes a whole other plot point, which I won't ruin here. But it's a good example of how Being Human blends darkness and humor together so perfectly. I highly doubt we can make these kinds of jokes on the Syfy Channel, with American writers and actors.

You can also bet that any and all edge will get stripped away, in hopes of garnering more viewers, so kiss the amazing sex scenes goodbye, along with violence, blood and realistic humor.

Plus you will never, never, never be able to recreate the chemistry and timing the trio over at Being Human have. It is by far one of the better ensemble casts working today.

In short, this is a disaster. The worst case is, we'll end up with just another CW-esque dramedy show about pretty white kids and their magical issues. To me, this is on a par with an Americanized Doctor Who, — it's not needed, and all but impossible to adapt properly.

How can this be saved? If Syfy decided to spend lots of money on hard working writers and producers that can actually Imagine Greater. Even then, they'd have to attempt at translating the dark humor without throwing in a green screen, adding reality-show components or trying to make it any darker than it already is. Then they have to cast three people who can sell this crazy premise. But they could always take that money and create new material, and just air the original Being Human along with said new series, instead of butchering a great UK show. Because if it ain't broke...

If this makes more people watch the original, then that's one thing this new reboot has going for it. Still I honestly just don't think it can be done. And now with the internet making foreign shows more accessible to the masses, I think there will be a surprising amount of push-back from U.S. fans.

Like many of Dick's short stories, "The Adjustment Team" is a tightly wound little nugget of paranoia and weirdness, which explodes in your face and then ends. We folllow a team of unruly bureaucrats, the Adjustment Team, who need to make sure everyone is place for when a synthetic reality is "adjusted" — including one real estate salesman, Ed Fletcher, who's married to a somewhat overbearing wife. Too bad the Adjustment Team relies on a lazy dog to make sure Ed gets maneuvered into the right place at the right time — and Ed catches a glimpse of how unreal his world really is, as everything turns to insubstantial greyness and all the people appear dead or deactivated.

As we reported previously, Universal is making this story into a movie, Adjustment Bureau, starring Matt Damon and Emily Blunt, and it's now filming. And as is semi-traditional with Dick's work, Bourne Ultimatum/Oceans Twelve scribe George Nolfi is taking a lot of liberties with the story. Instead of being married, Damon's character single — until he meets a lovely ballerina, played by Blunt. Explains Blunt to MTV:

It's like a modern love story, but it's got an ominous sci-fi backdrop to it It's going to be exciting and disconcerting and strange, which is what I like about [Dick's] work. It's very cool and clever. It's got a really tight script.

She adds that the focus of the story is not so much on Damon discovering that his world is a lie, or figuring out why everything is fabricated, but on the dark forces keeping the couple apart, and their will-they-or-won't-they romance:

The term soulmates is used so casually, but in this case, in this film, it is true. They are sort of destined to be together and they fight fate to be together.

It's just barely possible that this will still be a decent movie — but the phrase "missing the point by several light years" does spring to mind. [MTV]

This instant classic will be out Dec. 4. Click the link to watch the trailer in higher quality. [MSN Movies]

Reporters got a test drive of the U3-X today in Tokyo. According to Associated Press:

Honda's new "personal mobility" device looks like a unicycle, but all you need to do to zip around in it — sideways as well as forward and back — is lean your weight into the direction you want to go. The U3-X ... was designed to take up the same amount of space as a human being to be safe and unobtrusive enough to mingle with pedestrians, according to Honda Motor Co.

Photo by AP/Shizuo Kambayashi

Innerspace is a strong contender for Dennis Quaid's most bizarre SF movie of all time, although it has plenty of competition. After Quaid is injected into Short, he manages to hook himself up to Short's optic nerve and his eardrum, so he can see and hear what Short sees and hears — and he can somehow talk to Short as well. This allows Quaid to give Short advice on how to "dominate" Meg Ryan — which apparently worked well enough that Quaid and Ryan were married soon afterwards.

The other greatest sequence involves Robert Picardo, the holographic doctor from Star Trek: Voyager, playing an immensely hairy Eastern European fence called The Cowboy, who disco dances in cowboy boots (and sometimes not much else.) Short gets the drop on Picardo and ties him up in the bathtub, then Quaid somehow uses his miniature gizmos to convert Short's face into Picardo's. You know it makes sense.

At least, it makes more sense than a guy who's one molecule thick being able to drink normal-sized liquor, as Roger Ebert gleefully points out.

We heard from a source who's had meetings with Syfy execs recently, in which they said they were trying to get away from the "genre stereotype" of science fiction. And rather than being interested in developing new science fiction programs, the execs allegedly said they were looking at developing a cooking show and a talk show for the newly renamed network.

So is there any truth to this? Will you soon be seeing a new version of Space Ghost or some kind of cyborg Iron Chef? We asked Syfy, but the company can't comment on programming in development that hasn't been announced yet. But Mark Stern, Syfy's Executive Vice President for Original Content, did have this to say:

In regards to reality, we're developing all sorts of ideas, and there is an opportunity to push the envelope a bit with the new brand; to see where "Imagine Greater" might take us. That said, as with our scripted programming, anything we do needs to fit within a speculative genre, and the idea that we're celebrating the imagination. So, if we were to do a "cooking show", it definitely wouldn't be a normal, conventional cooking show.

So reading between the lines, it does sound as though Syfy is "developing all sorts of ideas" for reality TV, which makes sense given that Ghost Hunters has been such a hit for the channel. But a cooking show that celebrates the imagination?

This week, we've been celebrating the best of science fiction television, but there's a dark underside to the genre that we don't like to talk about... Shows that, quite simply, don't deserve to live again for many reasons - most of which are related to their stunning lack of quality. Come with us as we relive some of television's darkest moments, why don't you?

Benji, Zax and The Alien Prince


The year: 1983. The concept: Joe Camp, creator of the pooch-centric Benji franchise decides to jump on board the Star Wars gravy train by adding a deposed alien prince stranded on Earth and hiding from equally-alien bounty hunters to the mix. The result: A series that only lasted thirteen episodes, but seemed to go on forever when you were an SF-starved child looking for something to follow Return Of The Jedi and forced to accept this nonsense. On the plus side, the failure of this show meant that we were spared The Littlest Hobo In The 30th Century.

Small Wonder


Meredith Woerner believes that this show, about an inventor who creates a robot that looks like a small girl before pretending that it's his daughter, is good. The BBC called it "one of the worst low-budget sitcoms of all time." I think we can all agree which side is right here, don't you? For those who have been so won over by Meredith's True Blood recaps that you're willing to give the show a critical re-appraisal, you'll get your chance; Shout! Factory are planning on releasing DVDs of the series starting next year.

Space Academy


It may have had Lost In Space's Jonathan Harris and its own catchphrase (Personally, I hope ORACO - "Order Received And Carried Out" - comes back into every day usage any day now), but what Filmation's first live-action series lacked was quality to back up its "Professor Xavier's School In Space" concept. Due to its origins as a kids' show in the 1970s, there was a lot of moralizing and "lessons" to be taught, but it was only in spin-off Jason Of Star Command that things got worth watching.

Team Knight Rider


When one Knight Rider isn't enough, it's time for five poor knock-offs in this one-season-only spin-off from the original Knight Rider; following in the footsteps of Michael Knight, the Foundation for Law And Government (FLAG, get it?) recruit former secret agents, soldiers, geeks and thieves to continue in the specific war against crime that only people in talking cars can carry out (Making your core selling point less unique always works, right?). More commercial for sponsors Ford than a real program, the little-remembered series is now just a footnote in the career of My Big Fat Greek Wedding's Nia Vardalos (who voiced "Domino," one of the cars), showing just how unimportant in the grand scheme of things it really is.

Tom Corbett, Space Cadet


Originally aired on four different networks during its troubled six year run (although it took a year off in the middle), you only have to look at the opening of the video above to see why audiences never really grabbed onto the chance to study in Space Academy (Yes, apparently there's something doomed about that name) with good student Tom; apparently, even 1950s audiences had trouble accepting something that looked less impressive that the Flash Gordon movie serials... Or maybe they just didn't really see the point in going through even more schooling, even if it was in space. More to the point, could anyone these days make anything other than a Will Ferrell comedy with a concept that includes the words "Space Cadet" in the title?

Automan


The bizarre result of the question "What if Tron fought crime in the real world?", Automan suffered through twelve episodes on ABC in 1983-84, this show at least offered up Desi Arnaz, Jr., as a vaguely credible nerdy computer programmer who created an artificial intelligence alter-ego with which to fight crime (See also: Street Hawk, although that probably belongs more in the Airwolf and Knight Rider school of 1980s shows I kind of enjoyed but even then knew they weren't that good). Bonus points are given for using "Otto J. Mann" as a secret identity, but then removed because, well, this show wasn't very good.

VR.5


Cashing in on the then-current virtual reality craze and casting both the sister of V's Marc Singer and Sapphire And Steel's David McCallum may have seemed like a winner in 1995, but Fox's reality-challenging series (canceled after ten episodes) was either ahead of its time or an ill-advised attempt to piggyback on the success of The Lawnmower Man three years after its release. Don't even get me started on the idea that there are ten "levels" of virtual reality, at least three of which aren't actually virtual at all.

Spicy City


You'd think that, after Cool World, people would've known better than to give cartoonist Ralph Bakshi money to come up with a "sexy" anything, but in 1997, HBO did just that, asking him to come up with a sexy sci-fi cartoon series. This six-part series - with plots involving virtual strippers sucking the brains from their customers and prostitutes escaping into virtual reality to find happiness as geishas - was the result. When HBO agreed to do a second series but only if they could replace all the writers, you can tell that things weren't going to well, and the series died a quiet death. Maybe they should've stuck with their original title, "Spicy Detective."

Hard Time On Planet Earth


To be fair, there's maybe something in the core idea of this short-lived 1989 series about aliens being imprisoned in human form on planet Earth, but I'm not sure that you could tell from watching the show itself, especially as the show settled into the formula of former alien warrior Jesse learning to be a better person by helping out his now-fellow humans each week. On the plus side, producer/writer Michael Piller went from this to saving the Star Trek franchise, so let's say that he obviously learned what didn't work from this flawed feel-good wasted opportunity.

Quantum Leap


Just to finish things out, here's a show that should never be made into a movie not because it was bad - although, let's be honest, watching the reruns is always just a little bit more painful than you remember, right? - but because the entire point of it was the never-ending journey, which you can't really do in a movie format. And, to be honest, I'd be worried that any new take on the concept would end up more like Tru Calling or The Butterfly Effect than the gentle, calming soul food television that this series ended up being (I blame Scott Bakula's infectious charm). But what say you people?

On the face of it, it's so ridiculous that there's no chance that it could be true, especially when you trace it back to a story that claims that Cyrus dressed in a Batgirl costume to impress Warner Bros. execs recently. Wasn't that exactly what Sean Young did with Catwoman for Batman Returns, after all?

But there's something so ridiculous about it that we can't help but feel a little scared. After all, even if Warners isn't secretly hoping that Nolan will make the next Batman movie a little more family-friendly, who's to say that Nolan - a man who has cast both Katie Holmes and Scarlett Johansson in his movies, remember - wouldn't think that there's some bizarro artistic value in taking kid star Cyrus and casting her against type in a dark epic about the nature of darkness in heroic evolution as personified by a man dressed as a giant bat...?

Or, to put it another way: Alicia Silverstone didn't end up in Batman and Robin by herself.

[Via]

The pilot episode (although producer/director David Nutter called it the "teaser" ep) opens with a voiceover similar to that of Desperate Housewives, but voiced by Veronica Cartwright, who played Felicia in the 80's film version of John Updike's novel. It's a cute homage, but no wonder the comparisons are there with such beginnings.

Also, the constant witty banter stolen from the first season of Housewives is slightly annoying after about 15 minutes. Producer Maggie Friedman described it as "a show about magical realism," but the "realism" part seemed to get lost somewhere.

Our three witches are quickly introduced, and soon afterwards they're throwing some mystical coins each one has found into a fountain in the middle of town. Their coins CLINK together, and we have our witches with a gust of wind. Yes, they literally clink; no, it doesn't look even remotely real.

Cartwright's voice-over narration urges us to be wary of these new powers ("With great powers ..." and all that), claiming they may even be evil, but what is evil? When you're on the wrong side, do you always know it? The show opens up great questions for the season, but they feel like questions that may never get answered.

Enter Darryl Van Horne. Played by Paul Gross, he's suave and dark and brooding and he gives a wonderfully, buttery low voice to the Devil. In his demeaning way of mixing insults and compliments, he uses words like pronto and adorable while grazing your hand. The devil has ridden into the little town of Eastwick on the wind, we are meant to believe, and he's beautiful.

From there, the women's powers come alive. Sparked by the devil, each begins to transition into the woman she was meant to be.

Joanna Frankel is the mousy woman turned vixen. A wordsmith for the local newspaper, she can turn even the most boring town event into front page news, though it helps when the towns historic society president is attacked by ANTS at a town picnic. She is wildly inappropriate and not at all together, mostly because a part of her has always been a little bit afraid of who she is and what she can do. Her words come in handy when she gains the power to seduce men into believing anything she says.

Rebecca Romjin is single mother Roxie, a flaky crazy woman who thinks wearing boho chic shirts makes her a free spirit and that creating art is the only thing she's meant to do. She's also bored sexxxing up her boy-toy Kyle XY... er, Chad (Matt Dallas). Roxie finds her solace in sleep, until psychic visions invade.

Married Kat Rougemont is the nurturer of the trio, a woman with more power than she's ever cared to tap into. She started a large family when she turned 18, marrying a man who has zero respect for her and her talents, and it's stunted her. Literally, she is mother earth and like Storm, it seems she may soon be able to control even the weather. In the pilot alone she shakes the earth and nearly kills her deadbeat husband with a lightening bolt.

Unlike Charmed, that other trio of witches show, Eastwick's witches don't have to deal with fire shooting out of their hands or keeping schlocky visual effects at bay. Without those effects, there's a bit more room to grow these powers — but unfortunately, all we saw today was that the magical fantastical side of the story is dumbed down with over-the-top sex and cattiness, with some cleavage on top. Roxie and Kat can't even recognize her own powers for what they are at first, even after Kat electrocutes a man. Where are their heads?!

I had been meaning to write this "keep Khan out of Star Trek 2 (or 12, rather)" blog post for a while now — but honestly I thought Orci and Kurtzman were just kidding about including him. The script for the next Trek, at this point, consists of a few Gorn cartoons on a cocktail napkin, and they're barely batting ideas around. So it's easy for them to hint at all sorts of fan-favorite stuff: Sure, maybe the sequel will include the Doomsday Machine and V'Ger blasting each other. Why not? Anything's possible at this point, and it doesn't do any harm to answer "maybe" to every question. And of course, if the fans get particularly thrilled about one of these trial balloons, then that tells them something.

But now, it sounds as though the Fringe co-creators may actually be considering resurrecting Khan, who's still sleeping in his little suspended-animation capsule in their revamped timeline. So just in case they're really serious about this, here's a list of reasons why a new Khan would be a terrible, epically bad idea:

You can't improve on the original.

They don't make villains like they used to — and that's not just a cranky observation. It's really true. If you think about it. Khan is almost emblematic of what we no longer see in movie and TV villains, for several reasons. He's suave, in a way that nobody is suave any more. (Can you even think of a Hollywood actor who's suave now? Maybe George Clooney.) He's ruthless, and willing to do whatever it takes to win, and to prove his superiority. His arrogant swagger isn't just bravado, it's ideological: he believes, deep down, that he's the pinnacle of human evolution.

And you can't discount the Ricardo Montalban factor. His "Corinthian leather" showmanship is easily mocked, but he was one of a hundred bullies, bureaucrats and demagogues who went head-to-head with Kirk. And there's a reason he's one of the few we remember. (Remember Anan 7 from "A Taste Of Armageddon"? I didn't think so.) Montalban brings all of his gravitas, charm and menace to the role. I can't think of an actor working today who could do the young Khan justice, and it would be hard to imagine a modern-day summer movie that could make Khan as compelling as he was.

And remember, this wouldn't be the batshit-crazy, revenge-driven Khan from the movie. It would be the smooth-as-silk younger Khan from the episode "Space Seed."

Say goodbye to the freshness.

Abrams' Star Trek reboot threw armfuls of candy at the fans, to distract them from the fact that this was a whole new Star Trek. You had the Kobayashi Maru, the classic lines like "I am, and always will be your friend" and "I'm giving her all she's got," the Orion woman, Pike in a wheelchair, and so on. The constant hand-holding got a little annoying, because I'd rather see a movie that's concerned with telling a story than with placating a minority of OCD fans. But it was okay, because behind all of this clutter, there was a fresh story.

Even though Nero was a weak villain, he was at least something new, and he had a few really great moments. But it's hard to imagine a storyline starring Khan that wouldn't feel a bit warmed-over. It would be the opposite of the first movie: a few fresh ideas, wrapped around a core of fan-pleasing deja vu. Pass.

He'd probably be just one of two or three villains.

It'll be hard enough to avoid the traditional "sequel = villain multi-ball" syndrome in this film, in any case. It's hard to think of a recent sequel that hasn't had two or three villains. The pattern goes like this: the original film has the hero's origin story, plus one villain. The second movie lacks an origin story, so the writers throw in a second (or third) villain to compensate. Boom, you're in the movie business.

But for some reason, the addition of Khan makes me even more certain the new movie would end up having more than one villain. (Despite all those tantalizing hints that there might not be any villain at all.) After all, Khan has already starred in one movie as a solo villain. So how do you distinguish between this film and Wrath Of Khan? I know – why not have Khan plus a couple other villains. Like, say, Khan and the Squire of Gothos both giving the Enterprise hell. Or Khan teaming up with the Klingons! That would be awesome! Er, no.

Khan would need to have some kind of trauma.

It's another iron-clad rule of modern-day villainy. The villain can't just be a shithead who wants to rule the universe — a modern-day reinvention of Khan would need to be emotionally scarred. And he'd probably have daddy issues, or some other childhood trauma motivating him to go around trying to take over starships.

You certainly couldn't have a villain who's motivated by ideology — not in this day and age, and not in a Hollywood blockbuster. In "Space Seed," Khan wasn't just a random maniac: he was the product of a genetic engineering project to create the ultimate Nietzschean superman, designed to rule the world. Just like Doctor Who's Daleks, Khan is intended to conjure echoes of the Nazi "master race" ethos. He's a warning about the dangers of meddling with the human genome too much, but he's also the product of a social movement that believed in his rulership. Strip all of that away, and he's just another snarling maniac.

The new Kirk doesn't have the gravitas.

One huge reason why Khan is such a swaggering, charming, magnetic figure in "Space Seed" is because he has to stand up to William Shatner's Kirk, who'd long since perfected his own brand of both swagger and smarm.

Not only that, but the episode comments explicitly on the differences between the two men: one from the barbaric 1990s, the other from the civilized, egalitarian 23rd century. Khan's forcefulness and brutish charm ("I take what I want") are contrasted with Kirk's more domesticated manliness. Yes, Kirk is a sexist tool as well — but compared to Khan, he's a sensitive new-age guy. The episode hammers home the comparisons: Kirk keeps his masculinity under layers of manners and irony, whereas Khan's is right out there in the open. And that's why Khan is so fascinating to Lt. Marla McGivers: she sees him as a throwback to a rawer, more unrefined version of masculinity.

I'm sure Chris Pine's "young hooligan" version of Kirk will grow on me, but I don't think he'll ever have the same "gentleman scholar" vibe that Shatner managed to convey. If you put Pine up against a young Ricardo Montalban, I'm not sure he could really hold his own. And most of all, I don't think you could create the same contrast between the more civilized Kirk and the barbaric Khan.

But the main reason I'd rather not see Khan come back is:

No more excuses for dyslexic bloggers to misspell his name as "Kahn."

Seriously, it makes me think that Madeline Kahn is going to jump out and start showtuning the Enterprise crew to death. Anything we can do to prevent that, we should do.

Top image is from ShitmyJorts.com. All other images from IDW's "Wrath Of Khan" comic book. [Movie-Moron interview via TrekMovie.com]

Who demanded a sequel to Tarsem Singh's The Cell? Whoever it was, he or she is even more sadistic than The Cusp, the serial killer/paramedic who keeps bringing his victims to the brink of death and then reviving them. It's mostly standard torture porn, only with the same psychic crap as the first movie. And there's this great snippet, where the serial killer turns her psychic powers back on her, using them to destroy her childhood memories somehow.

The Cell 2 came out on DVD a couple of days ago, so you know what you have to do.