About two weeks ago, James Cameron was rumored to direct Angelina Jolie in yet another film about the Queen of the Nile – In 3D. Because of the purportedly brilliant script, written by Bran Helgeland, Sony co-chair Amy Pascal wanted to fast track production on and with Cameron at the helm the film had big box office potential. But even with the talent attached to this project, as well as the rumored fantastic screenplay, I didn’t think Cameron would sign on, simply because I didn’t feel he’d direct something that wasn’t of his own design. “Cleopatra” is Angelina Jolie’s vanity piece. It has her written all over it. She would have creative control, not Cameron.

So, when news hit that James Cameron’s next project would be two sequels to “Avatar” and not “Cleopatra”, I wasn’t shocked. “Avatar” has been Cameron’s obsession for years and given the film’s financial success ($2.8 billion), I didn’t think he’d postpone continuing the franchise for a biopic that will not make as much change. Plus, the sizable donation Fox gave to Cameron’s green fund probably helped with the decision-making. In fact, I wouldn’t be surprised if Cameron’s talk with Sony was nothing more than a ploy as a means to up his salary. If this was the case, it worked and well played.

Unfortunately, or fortunately if you’re not a fan of tall blue beings, we’re going to have to wait a bit for the “Avatar” sequels. The scripts will take time to produce and, of course, there’s the extraordinary special effects involved. The soonest we’ll see the “Avatar” sequels are December 2014 and 2015.

I gotta admit, even though I am excited about this announcement, I’m kinda disappointed. I was looking forward to Cameron’s imagining of “Battle Angel Alita.” Manga at it’s finest, “Alita” is about a cyborg who becomes a bounty hunter. If you’ve never heard of it, I suggest you pick up the manga by Yukito Kishiro first, then Netflix the anime.

For now, Neytiri will tide me over. She’s about as bad-ass as Alita. Here’s hoping there are more fight sequences with the Na’vi native in the upcoming 3-Disc special edition Blu-ray release of “Avatar,” due Nov. 15

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Under Review: ‘The Exorcist’ Extended Director’s Cut’ on Blu-ray

The moment I popped in “The Exorcist Extended Director’s Cut” on Blu-ray, I was reminded of what I was in for. To greet me was Linda Blair’s possessed face painted in an eerie green glow accompanied with demonic noises. Immediately, I remembered how frightening this film is. The first time I watched it, I was around 12 or 13. Raised Catholic, I had nightmares for days and slept with a rosary.

Eventually, the unsettling dreams faded and I was able to get a good night’s sleep, but the unsettling imagery from “The Exorcist” is unforgettable. I’m sure if you ask anyone which scenes freaked them out most, they’d be able to tell you without batting an eye.

Of course, Regan’s spinning head comes to mind. But that scene is trumped by the shocking masturbating-with-a-crucifix sequence, which even in the midst of slasher films such as “Saw,” continues to disturb to this day. Back then; ultra-violence wasn’t needed to scare an audience. It certainly wasn’t required in “The Exorcist’s” case. William Blatty’s writing along with William Friedkin’s direction and Linda Blair’s disturbing performance as the possessed girl was more than sufficient.

Regan’s (Linda Blair) possession isn’t clear overnight simply because in the very beginning her symptoms were minute. However, as her illness worsened, the tests became more severe and the drugs used to sedate her more potent. It wasn’t until the 12-year-old lunged onto a psychiatrist under hypnosis that her doctors finally suggested something unconventional. Exorcism.

If I remember right, before “The Exorcist” there weren’t any films about the practice to expel evil spirits from a person’s body. Yet without a reference point, Friedkin was able to create a terrifying film that made the viewer believe such a rite existed and a very young and talented Linda Blair made us think demon possession could occur. It is because of the film’s success, every other movie about exorcism moving forward has tried to emulate Blatty and Friedkin’s creation in one way or another. None have come close to being at the same level.

So, when the director’s cut was released on Blu-ray a few weeks ago, I had to purchase a copy. Included of course in the extended edition is the spider-walk scene from the 2000 re-release in addition to a three-part documentary about how the film was made, where it was shot and the different versions of “The Exorcist.”

There are two discs in total: the theatrical cut and the director’s cut. Within the theatrical Blu-ray disc, there are more extras, which comprise a making-of documentary from 1998, theatrical trailers, sketches and storyboards and TV spots. But the best part of the package is the 40-page hardbound digi-book filled with photographs.

What also makes the Blu-ray a worthwhile purchase is the digitally-restored audio. The sound is very rich and clean. I couldn’t get over the different layers used to create one haunting sound. The visuals are as crisp as you would guess, too.

In honor of Halloween this year, pick up a copy of “The Exorcist Extended Director’s Cut.” You’ll be glad you did. However, make sure to watch it in broad daylight.

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Under Review: ‘Hereafter’

Clint Eastwood doesn’t waste any time grabbing the audience’s attention. In the opening sequence of “Hereafter,” the viewer is swept into a tsunami. Death and destruction in its wake, we are introduced to the first character of the film, Marie LeLay (Cecile de France), a television anchor from France on vacation with her boyfriend. While shopping for gifts, the tsunami strikes, dragging Marie underwater and nearly killing her. Near death, Marie experiences the hereafter. Consumed by a white light, she experiences weightlessness and envisions ghostly silhouettes, which represent those who have passed on.

This is a powerful sequence in what is unfamiliar territory for Eastwood, who isn’t a special effects director. He hasn’t helmed films about the unknown either. However, being that the legendary actor and director celebrated his 80th birthday this year, perhaps this film was cathartic.

The second story moves to San Francisco where a simple man with a great gift resides. George Lonegan (Matt Damon) doesn’t see his ability to connect with the dead as a gift, however. To him, it is an unwanted burden. But at the prodding of his brother Billy (Jay Mohr), George goes back on his word and gives a reading to one of Billy’s associates. Thankfully, Eastwood doesn’t go the gimmick route here. No ghosts appear out of nowhere and angelic music doesn’t take over the scene, therefore the viewer is kept within the fantastical moment.

Lastly, in London, twin boys Jason and Marcus (George and Frankie McLaren) fight to remain in their home. Their mother is a junkie. High on heroin and drunk on whatever liquor is available in the residence, she is visited infrequently by child protective services. The brothers not only know the drill, they have it down and with cunning are able to ward off foster care placement by covering up for their unfit mother. Unfortunately, enabling the mother leads to a devastating loss, which leaves one unable to move on.

All three gripping narratives, connected by death, are set at the perfect pace. By not rushing, Eastwood gives each story the time it deserves to develop, engrossing the audience entirely. Additionally, Eastwood’s somber directing style works well with Peter Morgan’s contemplative screenplay.

The stand out story amongst the three? The twins. The least interesting, surprisingly, is the psychic. Not to say Matt Damon didn’t give a strong performance, he did. It’s just that his story didn’t resonate as much as the brothers or the French journalist.

My only grievances were with Eastwood’s score, which he composed himself, and the film’s flat ending. I didn’t think the piano flowed with the film. At times, it was jarring and the film’s finish felt contrived and a bit of a letdown. But it didn’t ruin my overall positive experience of the film.

As there isn’t enough reasonable discussion on the topic of life after death, “Hereafter” is definitely worth checking out. It opens nationwide Oct. 22.

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Trailer Talk: Paranormal Activity 2

I watched “Paranormal Activity” in midst of the hype and before the ending could be spoiled for me. Like many who watched the low budget horror flick, I was scared out of my mind. Even worse, I couldn’t get a good night’s sleep for at least a week because as a kid I was afraid of things that went ‘bump’ in the night. I’m not entirely sure if director and writer Oren Peli realized he’d induce nightmares amongst the millions who watched the low budget horror flick, but I’m positive he’s happy he was able to do so. Mission accomplished.

A year later, we now have “Paranormal Activity 2.” Because of the original’s huge success, ($193 million worldwide) a sequel was obvious … and unnecessary. The moment confirmation hit the web that a second was in the making, I thought the following: It won’t be as good as the first. Not that it matters to the studio. In the end they just want to make a profit. However, Oren Peli has been very vocal about not letting his fans down. So, with that said I watched both trailers with an open mind.

I liked the first teaser. Not much was given away and the viewer was reminded of just how terrifying the first film was. The second trailer … revealed too much. Complete with haunted baby, it feels gimmicky. What’s pretty clear is that a new family has settled into Micah and Katie’s former apartment and as expected strange things started to occur shortly after moving in.

Cut to surveillance footage where we see a door shutting on its own, a guy running blindly in the dark and a baby pulled the back of the crib, save for the infant part, there’s really nothing new to see here. But since Peli is adamant about this being just as good as his first creation, one can only guess and hope some original scary bits weren’t shown in the trailer.

Meh. I’ll see it.

“Paranormal Activity 2″ opens Oct. 22.

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