Angelina Jolie as Evelyn Salt in Salt Movie

Salt
Salt

Buy This at Allposters.com


Angelina Jolie's New Movie Salt

Jolie plays Evelyn Salt in a contemporary action thriller from Columbia Pictures. As a CIA agent, Evelyn Salt is sworn to duty, honor and country. Salt goes on the track, using all her skills and years of experience as a secret agent to avoid capture. Evelyn then goes on the run,and uses all of her combat skills and years of experience as a covert operative to elude being captured. Salt effort to prove her innocence merely cast doubt on her motives, as the hunt to discover the truth behind his identity continues, the question remains: “Who is salt?”

The movie also stars: Liev Schreiber, Chiwetel Ejiofor, Gaius Charles, Victor Slezak.

Directed by: Phillip Noyce
Starring: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor, Gaius Charles, Victor Slezak
Release Date: July 23, 2010

Megan Fox as Red Sonja - Shootings of the film started.

Red Sonja
Red Sonja

Buy This at Allposters.com


Red Sonja, an adaptation of the sword-and-sorcery comic of the same name will be released in America in 2010. Megan Fox will play Red Sonja as half sexy and half witch warrior. Red Sonja movie directed by Douglas Aarniokoski and the shootings started. The movie had scheduled Rose McGowan in the lead, but now it looks like Megan might have landed that job.

Actually when you think about it, Megan Fox stepping into the flame-haired skimpy outfits of warrior Red Sonja is not a bad idea. In fact, she does make a far better prospect than first choice Rose McGowan.

The movie’s plot: One more time with his family to avenge a bitter young girl with mystical powers to become the world’s most dangerous female warrior …

Tom Cruise in Mission: Impossible 4

Mission: Impossible Mission: Impossible
Buy This at Allposters.com
Mission: Impossible Tom Cruise has decided it will light the fuse and return Special Agent Ethan Hunt in Mission: Impossible 4. Cruise will produce the film with Mission: Impossible 3, JJ Abrams with writers Josh Applebaum and Andre Nemec on board to manage the script. Applebaum and Nemec both wrote for Alias Abrams and co-created the CBS series October Road and the American remake of Life on Mars. Abrams and Cruise are now seeking a director.

As for Cruise, he first played Hunt in 1996, and intends to make M: I-4 of his next film, with shooting expected to begin this summer for a Memorial Day release in 2011. It will be interesting to see if the result of this tour will create animosity even the third set between Cruise and Viacom (parent company of Paramount Pictures) Head honcho Sumner Redstone on the office of the third film in the box dull. Even if it does, it is good to know that people can bury the hatchet if they are to dig more money.

Cruise will soon be alongside Cameron Diaz in Knight and Day, which is hitting theaters July 2.

AVATAR’s Jake Sully (Sam Worthington) - Pandora



AVATAR’s central figure, Jake Sully (Sam Worthington) is a relatable everyman who unexpectedly rises to become a hero, as events draw him deeper into a clash of civilizations, between the Earth corporations bent on “developing” Pandora and the indigenous Na’vi. Jake is a former Marine who places honor and duty above all, but he must eventually choose between his personal honor, in defense of what is right, and his supposed duty to those who have tasked him with his mission.

“I wanted to create a familiar type of adventure in an unfamiliar environment, “ Cameron explains, “by setting the classic tale of a newcomer to a foreign land and culture on an alien planet. The story is by design classic in its broad strokes, but we have plenty of twists and turns in store for the audience. I’ve dreamed of creating a film like this, set on another world of great danger and beauty, since I was a kid reading pulp science fiction and comic books by the truckload, and sitting in math class drawing creatures and aliens behind my propped up textbook. With AVATAR, I finally got my chance.”

AVATAR takes place on Pandora, a moon with an Earthlike environment that orbits a gas-giant planet called Polyphemus in the Alpha Centauri-A star system. At 4.4 light years away, Alpha Centauri is our nearest stellar neighbor, and when it is discovered that Pandora is rich in a rare-earth mineral called Unobtainium, the race is on to mine the new world’s resources. Unobtainium does not exist in our solar system, but it is the key to solving Earth’s energy crisis in the twenty second century, so the Resources Development Administration (RDA) is spending hundreds of billions of dollars to mine the distant world. Our story takes place in 2154, three decades after a mining colony was established on Pandora. The encroachment by human activities into the territory of the indigenous Na’vi has created increasing tension between the two species and has set them down a path to war.

By a twist of fate, the death of his twin brother, Jake Sully is thrust into the middle of this tense situation. He is on Pandora to be the newest “driver” for the Avatar Program, an attempt by human scientists to create a “bridge of trust” with the Na’vi by using genetically engineered avatar bodies to walk among these alien giants in a familiar form. But Jake is co-opted by Colonel Miles Quaritch, the head of security for the human colony, to infiltrate the local clan and learn how to control them or defeat them. Quaritch is the commander of Secops, the private security force that defends Hell’s Gate against the fierce predators of Pandora and the equally fierce Na’vi. They are a scruffy but well equipped mercenary army, complete with heavily armed tilt-rotor aircraft and “AMP Suits”-- huge exeskeletal fighting suits.

Jake becomes the “wrong guy” to have placed in such a volatile position. When he finds himself torn between the Na’vi and the RDA forces that are bent on destroying their ancestral home of 10,000 years, Jake takes action. And all hell breaks loose.

AVATAR’s post-production process - James Cameron



AVATAR’s post-production process, like almost everything else about the film, was decidedly atypical. On most films, editing begins in post-production, but on AVATAR, Cameron and fellow editors Stephen Rivkin, A.C.E. and John Refoua, A.C.E. began cutting initial captured sequences during pre-production. The editors and their Avids were a regular presence on set during production, delivering to WETA sequences on a monthly basis. “Before we ever shot a frame of live action film, we had probably delivered seventy minutes of edited footage to WETA,” says Landau.


A key part of the post-production period was composer James Horner’s score, which combines classic symphonic elements that propel the film’s epic action, with sounds that transport us to another world; the latter includes vocalists singing in the film’s Na’vi language, as well as unusual acoustic and electronic instrumentalists. Movie fans and music watchers have eagerly anticipated this new Cameron- Horner collaboration; Horner’s work on 1986’s “Aliens,” yielded one of the cinema’s finest action film scores, and 1997’s “Titanic” made movie and soundtrack history. For AVATAR Horner reunited with “My Heart Will Go On” collaborator Simon Franglen to create a new song. “I See You” is sung by international sensation Leon Lewis, and can be heard in the end credits of the film. The song expresses the Na’vi idea of “seeing,” when a person understands with their heart and spirit, not just with their mind.

As he entered the final stages of AVATAR, Cameron was eager to share his vision with the world. He previewed extended scenes at key domestic and international exhibitor gatherings, and at the massive Comic-Con pop culture enclave. Pleased with the response to these early looks, Cameron continued to fine-tune the editing and review the finished or near-finished visual effects work coming in daily from WETA Digital and the other visual effects vendors (including ILM, Framestore, Prime Focus, Hybride and hy*drau”lx), all to make AVATAR a one-of-a-kind experience for moviegoers. “Jim doesn’t make movies for himself,” says Jon Landau. “He makes them for the audience.” Adds Cameron: “I really want audiences to have a completely satisfying cinematic experience. And I hope audiences will walk out of the theater saying, ‘I didn’t see a movie; I experienced a movie.’”