You may already be familiar with the Ghostbusters news that my able cohort Liz mentioned in her piece on WonderCon. But a recent piece of data has come to light thanks to the folks at Slashfilm.

That “Look for the big announcement at Comic Con San Diego 2008” that Liz mentioned? Ah…most people think it has something to do with an upcoming video game, but this was before Slashfilm took a closer look. When they looked at the tease, they noticed four key words:

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The cult of Hannah Montana, meanwhile, seems to have no clear end in sight. Tickets get scalped for thousands of dollars, kids run up massive credit card bills buying merch on eBay, and the Hannah Montana Concert Film runs on unabated.

In fact, the Disney Corporation, realizing that kids still have lunch money there’s still opportunity in the Hannah Montana brand name, has declared the Hannah Montana Concert Film to be on “indefinite engagement”, meaning that theaters can run it for as long as they damn well please. And some of them are taking advantage of the fact–it wasn’t long ago that I saw a theater offer tickets to the Hannah Montana singing spectacular for eighteen bucks a pop.

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In the long, popular line of Will Ferrell/John C. Reilly comedies we now have another: Step Brothers, in which the comic duo plays unemployed losers who live with their mother and father, respectively. When the two parents meet up and marry, Ferrell and Reilly must live together as brothers.

Naturally, this makes for an explosive situation that tears Mom and Dad apart. Ferrell and Reilly must band together to make sure that true love prevails!

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After Gary Busey’s bizarre stunt at the Oscars, slightly more attention has been turned to the washed-up movie star. In the last decade or so, he’s made a kind of second career for himself out of acting like a complete weirdo. Some people seem shocked by his red carpet indiscretion, but they shouldn’t be - this kind of outburst has been brewing for a long time. Need proof? I present to you:

A BRIEF HISTORY OF GARY BUSEY’S INSANITY

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British director Neil Marshall recently gained notoriety in both the U.S. and his homeland for 2005’s The Descent. With a cast of unknowns and an elaborate series of sets, he was able to create a unique and chilling horror film. Now, he’s at it again - with a film that looks awfully familiar.

A casual glance at the trailer for Marshall’s upcoming Doomsday might give you the impression that someone’s remaking Escape From New York. And, in a way, he is - Marshall freely admits that the heroine, played by Rhona Mitra, is based on Snake Plissken.

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Sad, sad news this time around, folks…one of the first BRMs of our era—Big Rubbery Monsters for those of you what don’t habla—passed away at just after 12:15 Hawaii time on Thursday, February 21 at the VA Hospital in Honolulu.

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It wasn’t so very long ago that I brought up the Hellboy sequel, Hellboy II: The Golden Army, and described my distaste for comic book movies that stuck too close to canon. Because, you see, I felt it was all too likely that the movie would demand entirely too great a knowledge of canon, and that would require thousands of dollars and thousands of hours spent studying the background. For bigger series—some of which go back decades—that could take even more cash and even longer time frames.

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Sometimes, you just run out of ideas for your next movie. It’s happened to all of us, once or twice. Sometimes you find a movie so inspiring that you can’t help but copy it, no matter how subtly. And you hope nobody finds out. But sometimes…sometimes…they do.

Here are a few movies you might not have realized were so similar to one that came before…

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With the abysmal Vantage Point inexplicably #1 at the box office, theater patrons are searching for other options. Many of the high-profile Oscar films (like Juno) are in second run, which is nice for those of us who missed them the first time around. But what else is out there?

The Jack Black/Mos Def comedy Be Kind Rewind lags behind more commercials films, but if you’re so inclined to enjoy it in a theater packed with five or six other people, it’s certainly worth the ticket price.

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After watching Ratatouille, which was as expected a laugh riot that was occasionally heartwarming, as is pretty much standard fare for everything Pixar releases, I had one moment of sheer, boiling outrage.

As an entertainment journalist and frequent film critic, I know we in the industry suffer our share of the slings and arrows. We do not create, say those artists and filmmakers who suffer our abuses, but rather have the declasse position of merely picking at the art of other people. As though somehow, there were no art in what we do, but rather in the art we talk about.

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