Movie Minesweeper - The Sweet Iron Yoke Edition

- New Line are clearly getting some bad press at the moment (for obvious reasons). The LA Times have added another drop to the ocean in a piece that discusses Rendition re-edits, Martian Child trouble and the whole, sticky Hobbit situation. It sounds a little more likely that Peter Jackson will be involved. Not conclusive, mind, but encouraging.

- Glenn Close is anxious for the film version of Andrew Lloyd Webber's musical based upon Sunset Boulevard to go before cameras. Don't hold your breath, Glenn.

- Latino Review ran a whole heap of Dark Knight spoilers, but then pulled them. Wussery?

- JV Pixar have had a chat with Lou Romano, Pixar story artist and actor. Key bit: 1906 is apparently not to be produced entirely at Pixar, but in partnership with another studio.

- William Hurt and Daniel Bruhl have jumped onboard Julie Delpy's The Countess. So to speak.

- Parts of the beautiful, historical Cinecitta studio in Rome have been destroyed by a fire. Apparently, none of the stages used by Fellini, for example, were damaged.

- The theatrical release of Scorsese's Rolling Stones documentary Shine a Light has been postponed until next April. This normally generates speculation that a film is a mess, but I bet Scorsese is immune to such speculation. Sigh.

- Ken Russell has explained his choices for the ten best films of all time: Metropolis, Citizen Kane, La Belle et la Bête, Gone with the Wind, La Strada, Fantasia, The Red Shoes, A Night at the Opera, The 39 Steps and... er... Romy and Michelle's High School Reunion. I kid you not. Okay, okay, there's a twist in his tale... but I'm not going to spoil it.

- A new Neil Gaiman interview in the NY Post gives a run down of the author's upcoming projects, including the Road to Endor adaptation, which he co-wrote with Penn Jillette. Gaiman's also been nattering with MTV.

- Maxim dot Com have some exclusive clips from Death Sentence.

- Camille Paglia alleges that art film is dead and... well, read it for yourself. It's spectacularly idiosyncratic. And astoundingly daft.