This new project sounds so incredibly cheesy that I sort of expect Steven Seagal to show up in mob attire, and Sylvester Stallone to turn up as a terrorist or something and have an epic, muscley battle. Get this -- The Hollywood Reporter has posted that producers Moritz Borman and Peter Graves have scored the film rights to a novel called The Seven Sins: The Tyrant Ascending by Jon Land.

The flick will follow a guy named Michael "The Tyrant" Tiranno (modeled on entrepreneur Fabrizio Boccardi), who was raised by a don from the Sicilian Mafia and becomes a real estate mogul. He builds a Las Vegas casino called Seven Sins that gets targeted, along with three other casinos, by suicidal car bombers believed to be Islamic terrorists. So of course, The Tyrant sets out to find the man responsible, which leads him to antique secrets and nonstop action.

The plan is to make this whole puppy a franchise, and I have to say -- I'm sort of glad. I'd much rather have a new weird action plot than more Rambos or other '80s franchises. But what about you? Are you hungry for The Tyrant?

Virgin Comics is still relatively new to the game, and while the big daddies of the comic book world have been enjoying their time on the big screen; Virgin has been steadily making deals for a little box-office success of their own (especially considering that was what the company was designed to do in the first place). Variety now reports that Virgin has sold the film rights to their latest comic, The Leaves, to Summit Entertainment.

The Leaves was inspired by tales of Naadi fortune-tellers and one man's extraordinary experience. The story centers on Max Mellick, a world-renowned heart surgeon with a beautiful girlfriend and luxurious New York lifestyle. While attending a friend's funeral in India, a fortune-teller tells Max that he will be responsible for bringing about the end of the world. But, Dr. Max isn't the apocalyptic-type, so he goes on the run in the hopes of finding a way to escape his destiny.

Leaves was only released a few days ago, but that hasn't stopped Summit from snapping up the title for a feature film remake. Leaves was written by Kevin J. Walsh and he will also adapt the story into an action thriller for the big screen. Virgin's Creative Director, Gotham Chopra (son to Deepak) will produce the film alongside CEO Sharad Devarajan. I just hope Summit can get Virgin moving a little faster on this project than they have with The Megas.

Maybe I missed something, but since when did releasing films on a Wednesday become a commonplace strategy? I know, for years and years, several titles have opened mid-week, albeit typically on a handful of NY/LA screens or to capitalize on a holiday weekend.

But due to some recent moves, every Wednesday in August now has at least one wide release opening on it instead of Friday. On the 6th, we have Pineapple Express and The Sisterhood of the Traveling Pants 2; the 13th brings us Tropic Thunder; the 20th, The Rocker; and then Traitor on the 27th.

There are at least three other wide releases on the last three Fridays of the month, but I see no distinct point at which a two-day head start would make any great deal of difference (although I presume that Pineapple still wanted to have seven days on Tropic instead of five when it comes to their similar target demographic).

Was there a holiday I overlooked somewhere? Is it now cooler for kids to go to the movies on a school night once classes are back in session? Do you guys have any theories, or will you still wait for the weekend to catch any of these regardless?

OK, so I missed my flight to San Diego this morning and I've had a really rotten day, but there's always a small silver lining, right? In the movie world there is: JUST announced (like, within the last few minutes!) is the Toronto Film Festival's Midnight Madness '08 line-up. And, as usual, it looks pretty damn awesome.

I've heard some really good things about Pascal Laugier's Martyrs, Franck Vestiel's Eden Log, and Jon Hewitt's Acolytes -- plus I've been itchin' to see JT Petty's horror-western The Burrowers for over a year now! Other selections include Pracha Pinkaew's Chocolate, Toshio Lee's Detroit Metal City, and Mark Hartley's Not Quite Hollywood. Click right here for all ten of TIFF's Midnight picks --and of course you can expect all sorts of expansive festival coverage once TIFF rolls out in early September. Woo!

(Note: Rocchi got all excited about JCVD being chosen as one of the Midnight selections, which is a title I neglected to mention the first time around. Ditto Sexykiller and Deadgirl.)

( Also announced today: Toronto's Wavelengths and Sprockets Family Zone selections. )

Cinematical has just received this exclusive poster for Lakeview Terrace, starring Samuel L. Jackson, Kerry Washington, and Patrick Wilson. Oh, the watchful eye of Jackson. This time around, he plays one of the creepiest types of bad guys -- a cop who can't be stopped. While a neighborhood like Lakeview Terrace sounds great and all, it becomes anything but when an interracial couple (Washington and Wilson) move next door to Jackson's racist cop. The man in blue starts off subtly -- an annoying light here, an awkward scare there, and then goes into full-on creepy neighbor to get the couple to hit the road. But Wilson will have none of that and crazily decides to take on the imbalanced cop.

Lakeview Terrace will hit theaters on September 19.

Fans of the world's most famous writer-director based in Philadelphia need not fear. Filmmaker M. Night Shyamalan is not abandoning his creative work as a writer and director in favor of restricting himself to production duties. He has, however, formed a new partnership to produce one thriller per year for three years, according to Variety.

M. Night "typically generates more movie ideas than he can execute." The terms of his deal with Media Rights Capital (MRC) mean that M. Night will "create the stories and ideas for the films and pick the writers and directors; MRC will finance." This won't affect his next directorial project, The Last Airbender, which is still set for release by Paramount in 2010.

My first thought was that M. Night is following in the footsteps of Steven Spielberg. You might remember that Spielberg created the TV series Amazing Stories in part because he had so many story ideas that he couldn't do himself. He ended up writing or developing 29 stories (out of 45 episodes). Interestingly, Eric Kohn asked M. Night in an interview last month if it wouldn't be easier for him to "go the independent route." Even though the filmmaker said he's "never had an issue with studios," this sounds like a big step in the independent direction.

And here's a quote that might warm the heart of anyone, including myself, who has been cool about his recent work: "Working with the next wave of innovative filmmakers will teach me many things that I can bring to my own writing/directing and give my stories the opportunity to be brought to the screen in a stunning way."

There has been talk of a sequel to Boondock Saints since 2002. But if Troy Duffy is to be believed, it's going to actually start filming this August. This past St. Patrick's Day Duffy claimed, via his YouTube account, that Boondock Saints: All Saints Day had been given a green light by Sony. The video was removed within hours, and the news was never confirmed elsewhere.

But Duffy isn't daunted. He gave a long interview to Washington D.C.'s WJFK insisting that, barring a SAG strike, filming would indeed begin in August. He actually gave away the entire plot, so no one actually needs to go see it should it actually be made. The film will find the brothers in retirement in Ireland, living off the land, until a priest is murdered in Boston. They're framed for the murder, and they quickly fly off to America to seek retribution. Lest you think it's all wishful thinking on the part of Duffy, Geeks of Doom got their hands on the first production diary.

I'm still very skeptical this will actually be made -- and if it is, that it will be anything other than a direct to DVD thing. Between litigation and a bad reputation, I have a hard time believing any studio is really willing to back Duffy at this point. And while it's a fun movie, hasn't the time for a sequel come and gone? Even the Hot Topic t-shirt revival is over. What about the plot? After all the events in the first film, would the MacManus brothers really up and retire to Ireland to live off the land? Feel free to answer all or none of these questions, my readers.

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As always, we seek to highlight indie films with this weekly post, so let's pause a moment and celebrate the success of a good, old-fashioned railroad movie. Brad Anderson's Transsiberian opened on two screens and earned a very tidy $17,600 at each, according to estimates compiled by Box Office Mojo. That has to be considered a triumph in the face of "The Bat Effect." Perhaps Transsiberian will get to a few more cities before its eventual landing on DVD shelves.

In a very welcome upturn of events, French thriller Tell No One expanded from 19 to 55 screens in its third week of release and averaged $9,725 per screen. More people will have a chance to catch this word-of-mouth success when it expands again this coming Friday.

Also in its third week out, The Wackness expanded by three theaters and kept a decent $4,441 per-screen average. It finally opened where I live and, while I loved Olivia Thirlby more than I should and was convinced that Jonathan Levine has good instincts as a filmmaker, I'm amazed it's done as well as it has, considering how drab so much of it feels. But that's just my minority opinion. I would still encourage you -- especially you 90s kids -- to consider checking it out when it expands wider this Friday.

Finally, Lou Reed's Berlin earned a per-screen average of $3,825 at the two theaters where it opened. Must be more Lou Reed fans out there than I thought.

Death is the ultimate dramatic device, but great art doesn't emerge from strong devices alone. In Take, the directorial debut of Charles Oliver, the impact of a single, startling tragic death immediately conveys the sense of watching a gravely serious movie, which is definitely the case. However, having immediately provided a tone, Oliver fails to follow up with a story powerful enough to justify it. That's not to say that the experience Ana (Minnie Driver) goes through after her son dies in a freak accident before the start of the film isn't relentlessly bleak, but there's hardly anything distinctive about the circumstances to make viewers care any more than they would if they were glancing at it in the morning headlines.

Still, Olilver has made a quietly observant work solely driven by the specific needs of two downtrodden protagonists with completely believable motives. In flashback, we learn that Ana struggled with her son's elementary school, which wants to put him in a special needs program. Meanwhile, she has a hard time communicating with her husband and finding decent work to get by. Elsewhere, reckless gambling addict Saul (Jeremy Renner) destroys his life in a whirlwind of debt. His misfortune, as it's shown in early scenes at a prison where Saul awaits execution, will lead him to accidentally murder Ana's innocent child, Jesse (Bobby Coleman).

The first Brad Anderson film I saw was Session 9. (I also spent $27 on the out-of-print DVD, which I've watched at least three times in the last year. It's a great movie.) And then I saw his dark and twisted love letter to Alfred Hitchcock: The Machinist. Wow. Aside from Christian Bale's staggering performance, it's just a rock-solid, old-fashioned mind-bender of a noir thriller. Good stuff. Most recently I saw the director's train-bound and icy chiller Transsiberian at Sundance, which (shocking!) I also enjoyed quite a bit.

Which leads us to a logical question. What can Brad Anderson fans expect next? According to Bloody-Disgusting, the writer / director is not straying far from the genre fare any time soon. First on the filmmaker's plate looks to be All Lost Souls, which is a "serial killer movie," and then perhaps Vanishing, which Anderson describes as "a smart post-apocalyptic horror film." Sounds good so far.

But even further down the road, Anderson could be looking at a remake of the 1943 occult flick The Seventh Victim -- and a Cronenbergian thriller called Concrete Island, which just might reunite the director with two of his Machinist collaborators: screenwriter Scott Kosar and low-key superstar Christian Bale. And to all those projects, I say this: Cool. Get to work, Brad!

[ Thanks to Bloody-Dee for the cool info. ]