Welcome to The Morning Read.

The superhero film continues to evolve.  It's hard to believe that the modern superhero movie is really only about twelve years old (I'd argue that "Blade" was the first in this latest cycle), and that we've already seen so many variations on the form played out by so many different studios using so many different characters.  Technology is part of what shifts from film to film, but so are the ideas about how we tell these stories.  As "Kick-Ass" hits theaters this week, it's obvious there's a lot of life in the genre, and I'm fascinated with the way DC is trying to get into the business that Marvel's in, building out a universe populated with many heroes instead of relegating each one to a separate movie world.

"The Green Lantern" is a big film for them in every way, and the report that /Film ran about the film over the weekend is provocative.  The notion of the uniform that Ryan Reynolds wears in the film being entirely CGI makes actual thematic sense.  The uniform that the members of the Green Lantern Corps wear is created by their ring, more of an energy construct than an actual cut-from-cloth suit.  Creating it the way they're planning to makes it feel otherworldly, and I'm excited now to see what it looks like in motion.  It's going to make set photos a lot less interesting, but the final result should be worth the wait.

A number of sites have picked up on the Guardian's Jonathan Ross interview where there's a mention of a possible film adaptation of "Turf," a new comic book that Ross is working on with Tommy Lee Edwards.  The notion of "Turf" being a Matthew Vaughn film would not be remotely surprising, since Ross's wife is Jane Goldman, the talented screenwriter who worked with Vaughn on both "Stardust" and "Kick-Ass."  If she and Matthew adapt Ross's comic into a film, it sounds like a really great fun family project for a couple of years.  A vampire story set during the gangster days of American prohibition, "Turf" sounds like another project that Marv Films could do for a budget that they could turn into another buzz pick-up a la "Kick-Ass."  Vaughn's gift as a filmmaker is that he's a writer/director who thinks like a producer, and that's the particular discipline that can turn one man's development deal into another man's finished film.

Speaking of "Kick-Ass," I'll have some more interviews I did at Wondercon for you here his week as we count down to the US release.  In the meantime, I think this internet-only (I assume) ad to be entirely inappropriate, incredibly rude, and just plain loud.  It is very, very NSFW, by the way, which appears to be the point:

 

 

It's going to be "Get Him To The Greek" week on the Motion/Captured Blog as well, since I'm finally able to publish my set visit reports, in which we have exclusive conversations with Russell Brand, Jonah Hill,Colm Meaney, producer Rodney Rothman, writer/director Nicholas Stoller and, yes, Sean "The Artist Formerly Known as Diddy" Combs himself.  It's good stuff, and I'm excited to finally share it with you.

I'm not even a little bit embarrassed to call myself a Riddick fan.  I don't think "Pitch Black" and "The Chronicles Of Riddick" are the best movies ever made, but I do think they're fun and crazy and pulpy, and the second one had an ambition that I found engaging.  The idea of a third "Riddick" film pleases me to no end.  And Patrick Sauriol's preview of the film's script has me positively a-tingle.  It sounds like a rough SF action movie, and it sounds like it has a smart way of handling the end of the last movie and the larger idea of Riddick as a franchise character.

Megan Ganz?  Damn funny writer.  Exhibit A.

Since I moved to Los Angeles in 1990, I've been of the opinion that Los Angeles deserved a better film festival than it's had, and no matter how many good or interesting film programs or fests I've been to here, there's never been the defining annual event, and there really should be.  It's good to know other people feel the same way.

It's been interesting dealing with e-mail and comments here on the site since I published my "A Serbian Film" review, and for the most part, it's been a very strong and mature conversation about personal lines in what you will or won't watch in a theater and why.  It's a question I dealt with on last week's podcast, as well, and there's a list I read over the weekend in which filmmakers talk about the most shocking moments in film history that plays right into that attraction people have to seeing terrible things played out as drama onscreen.

Have you seen this video?  Because the fact that it exists is... well...

 

 

... a miracle.  I love Cracked's response to that video.  LOVE it.

Y'know what else is a miracle?  This.  And this.  And this, too.

I think I'm a supertasker.  After all, I have two boys under the age of five in the house with me, I'm the only adult here, and I'm still publishing a Morning Read before 10:00 at night.  Excuse me.  Something just exploded in the next room.

I'm not entirely sure what this is, but it's hypnotic:

 

 

I love Nemo as a character, and I still hope someone gets that Craig Titley draft of "20,000 Leagues Under The Sea" made.  Underwater Victorian adventure isn't exactly "the same old, same old" right now, and it could be so beautiful.

And finally today, here's the theme song from the new insanely cool-looking "Scott Pilgrim" video game, performed live by the band who wrote it:

 

 

Love.  Love.  Love that.

Lots more to come all week.  Keep checking in here at HitFix.

The Morning Read appears here every Monday, Wednesday, and Friday.  Except when it doesn't.

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You can e-mail me at drew@hitfix.com or follow me on Twitter, where I'm DrewAtHitFix.