stuff
Moonlight gets another recast, with Amber Valletta, who played a vampiress named Coraline, being replaced by Shannon Sossamon (A Knight's Tale). Earlier, Sophia Myles (Tristan & Isolde) replaced Shannon Lucio as the female lead, Beth Turner, and Jason Dohring took over from 60-year-old Rade Serbedzija as Josef, a vampire reconceptualised as a much younger-looking character. Lead actor Alex O'Loughlin, as vampire private investigator Mick St. John, is the only member of the pilot's original core cast still attached. My opinion is if you're going to have a character called "St. John", you can at least pronounce the name correctly. (TV Squad) [fansite] [imdb]
Twitch has the link to the first teaser of Jean-Jacques Annaud's Sa Majesté Minor, starring Vincent Cassel as a faun. [imdb]
Australian actress Claudia Karvan (Love My Way) has been cast in the female lead in the Spierig brothers' dystopic thriller, Daybreakers. The story is set in the near future, where vampires have become the dominant race and human beings are nearly extinct. Meanwhile a rebel group of vampires make a discovery that could restore the human race. Ethan Hawke plays a vampire researcher in love with a human woman, Lucy (Karvan). Sam Neill and Willem Dafoe also star. (Moviehole) [imdb]
Trailer for The Jane Austen Book Club, based on the book by Karen Joy Fowler. The ensemble cast features Maria Bello, Hugh Dancy, Emily Blunt, Amy Brenneman, Kathy Baker, Marc Blucas, Maggie Grace, Kevin Zegers, Jimmy Smits and Ellen Burstyn. [imdb]
Trailer for the werewolf horror pic, Skinwalkers. It stars Jason Behr, Elias Koteas, Rhona Mitra, Natassia Malthe and Sarah Carter. [imdb]
Patrick Goldstein spoke to directors Paul Greengrass (United 93) and Brett Morgen (Chicago 10) about Michael Moore and his documentary about the U.S. healthcare system crisis, Sicko.
Greengrass has a great phrase to describe the moments in Moore's films that rattle those of us raised on "just the facts" documentaries. He calls Moore's work "highly interventionist," in the sense that Moore is willing to use the power of film, be it clever cutting or funny archival footage or cheap melodrama to carry the day. "His work is often intensely tabloid," Greengrass says. "But I remember from my days as an on-camera interviewer that the question that makes you sweat by the very idea of asking it is the one you should always ask. And Moore's brilliance is that he always asks that question, over and over."