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Cinematical has just received this exclusive new poster for The Wolfman, due in theaters February 12, 2010. As you can tell from above, this latest bit of marketing for the Joe Johnston directed resurrection of Universal's classic shows off the gentler side of the moon-fearing creature feature. It's a simple image of Emily Blunt, who plays Benicio del Toro's romantic interest in the film, hiding with baited breath behind a tree in the mist-filled forest from del Toro's titular man cursed with an ancient affliction.

What works so great about the poster, other than the fact that Emily Blunt is always easy on the eyes (and even easier on the eyes when in a corset), is how it denies us a glimpse of the actual lycanthrope at the center of the movie. I find it a testament to how fantastic the character of the wolfman is that no amount of beauty is going to distract us from wanting to catch a look at the doomed soul who loses control of himself whenever the moon is full.

In addition to this poster, Ain't It Cool News has debuted a second Wolfman poster a little later on today, so make sure to hop on over there to catch another insight into the mystical, Victorian world brought to life by the likes of Benicio del Toro, Emily Blunt, Hugo Weaving, and Anthony Hopkins. After that, you may return to staring at the wonderful Emily Blunt, longing for February 12th to somehow get here sooner.

Check out the latest Wolfman trailer after the jump, and view the full poster by clicking the image below.

The future Faceman may have lost the chance to fly as the Emerald Knight, but DC isn't the only place you can gain superpowers. You can also score them from top secret pharmaceuticals! (Don't try this at home, kids.) According to The Hollywood Reporter, Bradley Cooper is set to star in Dark Fields, a thriller directed by Neil Burger and based on the book by Alan Glynn.

Cooper will play a writer down on his luck who manages to get his poor paws on a secret drug that promises to make one smarter. He doesn't go ask Alice before popping them, and finds that it's a wonder drug. He enjoys writing success, wealth and women until the side effects kick in. They're long lasting, potentially lethal, and have the extra kick of making time appear as a stop-motion movie. As if that doesn't suck enough, mysterious and unpleasant men begin pursuing him. Do they look like Shia LaBeouf, who was originally set to star? Hopefully not.

The screenplay was penned by Leslie Dixon, and is said to be similar to Fight Club and The Game, which might be a big spoiler as to the nature of those mysterious antagonists, which is why you shouldn't think about it too much. There's no start date, but hopefully he has no time between The A-Team and Dark Fields to squish in another frightening romantic comedy.

By Todd Gilchrist (reprint from 10/28/09 -- L.A. Screamfest)

I'm not sure exactly what quality it is that real people possess and actors lack, but any time a film pretends to document real behavior, either literally or as a reenactment, something is almost always missing. Sometimes the problem is a deliberate decision to enhance events with artificial emphasis or drama, and sometimes it's simply too great a sense of self-awareness in the actor, who knows he or she is performing. But while there are a precious few movies that nail that authenticity, notably the recent underdog-blockbuster Paranormal Activity, such is certainly the case in The Fourth Kind, a film that purports to build an argument for alien abductions using "actual" footage from case studies.

While much of the movie's so-called source material carries the convincing roughness and deficiencies of homemade, handheld recording, too much of it seems far too calculated, both in its technical proficiency and the performances contributed by its "real" people. Further, its accompanying reenactments by recognizable actors undermine the possibility that audiences can take its case seriously, all of which adds up to thriller that unravels easily even if it nevertheless occasionally qualifies as a scary good time.

I'm not sure exactly what quality it is that real people possess and actors lack, but any time a film pretends to document real behavior, either literally or as a reenactment, something is almost always missing. Sometimes the problem is a deliberate decision to enhance events with artificial emphasis or drama, and sometimes it's simply too great a sense of self-awareness in the actor, who knows he or she is performing. But while there are a precious few movies that nail that authenticity, notably the recent underdog-blockbuster Paranormal Activity, such is certainly the case in The Fourth Kind, a film that purports to build an argument for alien abductions using "actual" footage from case studies.

While much of the movie's so-called source material carries the convincing roughness and deficiencies of homemade, handheld recording, too much of it seems far too calculated, both in its technical proficiency and the performances contributed by its "real" people. Further, its accompanying reenactments by recognizable actors undermine the possibility that audiences can take its case seriously, all of which adds up to thriller that unravels easily even if it nevertheless occasionally qualifies as a scary good time.

August gave us the voice of Matt Damon in Ponyo, September gave us the inner voice of Matt Damon in The Informant!, and now October has brought us a look at his next two performances.

Clint Eastwood's Invictus is one of the last big likely contenders of the awards season, though it is as of yet unseen (unless those very few who have seen it are very good at being very quiet). Damon plays real-life rugby captain Francois Pienaar, whose team saw the support of Nelson Mandela (Morgan Freeman) as a rallying point around which they might lift the spirits of South Africa in the wake of apartheid. It's political! It's underdog! It's opening in December! It's Oscar bait for certain, and Apple has the exclusive trailer.

Paul Greengrass' Green Zone, on the other hand, was shuffled out of the Oscar race once Universal decided to sort out its slate after a lackluster summer at the box office, and that may have been a wise move. Yahoo's trailer (which is also embedded below) comes across as more of a straight-up actioner than a ready-made contender, with Damon back in Bourne mode as a betrayed soldier on the hunt first for WMDs, and then for answers. Based on the best-seller Imperial Life in the Emerald City, it opens on March 12, 2010.

Frank Sinatra is still what many (if not all) red-blooded man aspire to be. Playing him in a Martin Scorsese biopic is not only a dream job for any actor, it's wish fulfillment on the highest level. Is it any surprise that the some of the biggest names in Hollywood are said to by vying for the role of Old Blue Eyes? The Guardian reports that Johnny Depp, Leonardo DiCaprio, and George Clooney are in fierce competition to land the part, with Universal executives allegedly pushing hardest for the marketable Depp.

It's a tough thing to cast someone like Sinatra. While I certainly like all three men as actors in their own right, I think their own fame makes it impossible for them to disappear under the skin of an icon. This isn't exactly Howard Hughes or John Dillinger, figures that an actor can shape from facts and bits of footage, but still make their own. This is a man we're all familiar with from countless movies, concerts, albums, and television appearances. How do you portray that honestly with Depp, DiCaprio, or Clooney? If forced to choose from the three, I'd pick DiCaprio purely because of the physical resemblance, and politely suggest Clooney play Dean Martin.

Personally, I hope Scorsese finds a semi-unknown for the part (someone on the level of Tom Hardy -- who might actually be really good now that he's sprung to my mind) and steers clear of the A-List. The actor lucky and brave enough won't have to sing, as Universal and Mandalay spent 2 years clearing the rights to Sinatra's catalog, but he still has to be someone you believe to possess that voice. Would you cast one of the Big Three above? Or do you have someone else in mind?

The CMJ Festival ended Friday night with a whimper -- well, maybe that was me whimpering after I left a special screening of the spooky ooky alien thriller, The Fourth Kind. In case you haven't checked out the trailers and featurettes on the official site, I'll give you a quick breakdown -- the movie switches between "real" footage of director Olatunde Osunsanmi interviewing Dr. Abigail Tyler, a psychiatrist in Nome, Alaska, an area with an allegedly high rate of reported alien abductions, and Milla Jovovich playing Tyler as she struggles with the mysterious death of her husband and her patients' nightmares and mental breakdowns. Interestingly enough, the movie also sometimes intersperses Tyler's "real" footage of her sessions with clients with Jovovich acting them out using split screens. In any case, despite any questions as to the validity of the Tyler story and problems with the last third of the movie, I found it pretty damn scary. The Fourth Kind will be begin probing theatergoers on November 6th. (Note: It's unclear whether this was the final cut or not.)

If Hollywood's vast abundance of remakes, spinoffs and sequels weren't enough to kill your appetite for spending money on "new" entertainment, it seems like almost every one of these releases finds its way onto home video in multiple forms. Sometimes the studios issue different iterations of a film all at the same time, in a thankful moment of honesty that at least allows consumers the option which version they want. More often, though, the studios will re-release, expand and double-dip their top earners time and time again in order to wring out a few more dollars from the less dull entries in their back catalogue. And especially now, during the still-early days of Blu-ray, there's even more new and different editions being released in stores, some of which are honest-to-Jah improvements on the presentation and packaging, while others are merely the next generation of mediocrity.

As such, welcome to the third installment of "Making The (Up) Grade," a comparison of some of the more high-profile (or maybe just personally-preferred) Blu-ray releases with their previous home-video iterations. This week, we're taking a look at An American Werewolf in London, which Universal Studios Home Entertainment released late last month in a "Full Moon" edition.

I am appalled this awesome little news item slipped past my radar, and even more upset that I am just now hearing that Rashida Jones has a comic book called Frenemy of the State at Oni Press. As if that isn't neat enough, Variety reports that Frenemy has just been optioned by Universal Pictures and Imagine Entertainment. I mean, a comic book that's not only penned by a woman, but stars a young woman is actually being optioned. It's the stuff geek girl dreams are made of.

But I'm jumping the gun a little here, because if you're as out of the loop as I was, you don't know what Frenemy of the State is about. It stars a young heiress who works undercover for the CIA, and was described at ComicCon as "What if Paris Hilton was a spy?" But Jones describes the heroine as being a little classier than that: "She has lived a life of privilege, attended the best schools and learned every language, but her obsession with spying on exes gets her into trouble and she is recruited to be a spy in exchange for not going to prison. There is a comic element to it, this girl who is so conscious of social standing and wearing the right shoes, suddenly becoming responsible for these dangerous, life-threatening missions." If that sounds a bit drippy, remember that Lara Croft started off as a careless young heiress too, until she discovered the thrill of artifacts and firearms.

You can't keep a spunky redhead down, even after she's confessed to being a shopaholic. After being unfairly painted as the poster child of conspicuous consumption, Isla Fisher has moved on and scored a one-two punch of comedies. Variety reports that Fisher has signed on to star and produce in Life Coach, and to star in an untitled romantic comedy for Universal.

Life Coach is centers on a woman who hires a (shocker!) life coach to sort her life out. In a twist of twists, the life coach is more messed up than she is. On the outside, it looks like it could be a very typical girl comedy (wacky job, problematic boyfriend, credit card debt), but it is being co-produced by Will Ferrell, Adam McKay, and Chris Henchy, and is being penned by Liz`Cackowski and Maggie Carrey. I think it might actually be a little more offbeat and more along the lines of Funny or Die, and not fall into a romantic comedy trap. An actual comedy starring a woman would be a nice thing to find outside of television's 30 Rock.

The same probably can't be said for Fisher's other gig at Universal. The untitled romantic comedy is based on a French script titled Un Jour mes princes viendront (Some Day My Princes Will Come). Universal wouldn't reveal the plotline, but I'm making the wild guess that it involves a girl looking for Prince Charming, or even more than one Prince Charming. The script is being penned by Audrey Wells, who has made a recent specialty of plots centered around individuals trying to decide to navigate love and life. But there's always the possibility of being surprised by a hearts-and-flowers script, so I'll refrain from criticizing and hope that both scripts offer an opportunity for Fisher to shine as a comedic talent.