<p>It seems a safe bet that Ryan Reynolds will return as Hal Jordan for 'Green Lantern 2,' but what version of the film will we see?</p>

It seems a safe bet that Ryan Reynolds will return as Hal Jordan for 'Green Lantern 2,' but what version of the film will we see?

Credit: Warner Bros.

Does 'Green Lantern 2' really need to be 'darker' and 'edgier'?

And what does it mean if Martin Campbell's not back to direct?

When I read the piece over at the LA Times today about "Green Lantern 2" and the direction they're allegedly heading with it, my first thought is "They learned nothing from the first film."

I'm aware that some people actually liked the first movie.  I'm mystified by it, but I accept that to some people, it was acceptable.  I found the entire thing deeply frustrating for reasons I explained at length in my review when the film was released, but I also understand the inevitability of Warner Bros. trying to figure out how to squeeze more life out of the franchise.

I'm not exactly sure how it's news that Warner Bros. wants to move forward without Martin Campbell attached as director.  Campbell made it quite clear, even before the first film opened, that he wasn't going to return for a sequel.  Looking at the article today, though, it seems that Warner Bros. took all the wrong lessons away from the film, and it makes me think that when and if they make a sequel, it's going to be just as bad if not worse.

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<p>Norman Reedus was one of the cast members of 'The Walking Dead' that we caught up with in San Diego during Comic-Con this year</p>

Norman Reedus was one of the cast members of 'The Walking Dead' that we caught up with in San Diego during Comic-Con this year

Credit: HitFix

Watch: Norman Reedus and Steven Yeun talk 'Walking Dead' season two

Two cast members speak out at Comic-Con about the hit horror show

Comic-Con is a crazy blur of activity when you're trying to coordinate coverage, even with a team as good as the one we took this year.  We did very well at dividing things up, but every now and then, you come up a little short-handed and you end up scrambling.

In our case, we found ourselves short on the TV side on Saturday night when we were offered a chance to interview the cast of "The Walking Dead," and since I enjoyed the show, I jumped in to handle the conversations on-camera.  Unfortunately, we found ourselves in the middle of what seemed to be pure chaos on the part of the publicists handling the event, and even though we showed up exactly when we were supposed to, from the moment we began, we were told that the event was already running late and everyone had to go.

Maddening, really.  As we stood there, we watched them march Andrew Lincoln right by us, then Jon Bernthal, then Sarah Wayne Callies.  All of them were hustled into waiting cars and whisked off to a dinner with Frank Darabont.  Keep in mind, at this point, we hadn't heard anything about the creative shuffle behind-the-scenes, and earlier in the day, at the "Walking Dead" panel, there had been no indication that things were about to change.  It's one thing if we'd just shown up at that spot and tried to wrangle some interviews without an invitation, but we were there because they asked us to be there, and yet the closest we got to most of the cast was to watch them walk away.

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<p>Jason Bateman and Ryan Reynolds co-star in 'The Change-Up'</p>

Jason Bateman and Ryan Reynolds co-star in 'The Change-Up'

Credit: Universal Pictures

Watch: Ryan Reynolds and Jason Bateman on the benefits of a body swap for 'The Change-Up'

A rowdy conversation

You do not interview Ryan Reynolds and Jason Bateman sitting side-by-side.  There's no way to control that room.  All you can do as an interviewer is just throw them a question, sit back, and get out of their way.

A few weeks back, the three of us sat down to talk about their new film "The Change-Up," which arrives in theaters this weekend.  Having the two of them together, it seemed appropriate to ask them what they observed about each other when figuring out how to play characters who switch bodies with one another.  That's the whole key to this kind of movie working… you have to create two characters who are so distinct that when they do switch places, the audience can immediately see that reflected in behavior.

You'll see how wildly overpowered I was from the moment the tape started rolling.  I've interviewed both of these guys repeatedly at this point, and this was the very last interview of a very long day for them and for me.  I had already done all of my "Captain America" press by this point, and they had been sitting in those same two chairs since early that morning.  Basically, you're looking at three people who are already halfway out the door trying to hold a conversation.  As a result, they seem looser than they normally would be, and it's sort of a free-for-all.

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<p>Anton Yelchin and Felicity Jones make first love hurt in 'Like Crazy'</p>

Anton Yelchin and Felicity Jones make first love hurt in 'Like Crazy'

Credit: Paramount Pictures

Interview: Director Drake Doremus discusses his new film 'Like Crazy'

Plus check out a new trailer and poster for the Sundance sensation

Drake Doremus is having one of those moments that indie filmmakers dream of, and if anyone deserves it this year, he does.

The first time I heard his name was when I saw his film "Douchebag" at Sundance in 2010.  I enjoyed it, but it felt like one of those movies you see on the festival circuit and know will never end up playing theaters near 99% of your readership.  This year, I saw his new film "Like Crazy" at Sundance, and it floored me.  As much as I liked his earlier film, I wasn't ready for "Like Crazy."  It's a beautiful, incredibly well-performed piece that works because of how bluntly honest it is, how carefully it avoids cliche.  I found it to be almost as powerful a punch as last year's "Blue Valentine," and in particular, it is an amazing showcase for Anton Yelchin and Felicity Jones, the two young stars of the movie.

This afternoon, I got on the phone with Doremus to talk about his film and its impending release, and while it was just a short conversation, it was good to catch up with him and see how he's feeling as his film is being prepped for release by Paramount Pictures, which is very different than the fate of his last film.  I asked him if there was any difference for him in terms of process as he moves from very small films to slightly bigger films, and he took a moment to consider it.  "No, actually.  Essentially it's all about the performances and the emotions.  And this is still a tiny movie.  I try to approach it the same every time out."

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<p>Doctor Strange is one of the weirdest Marvel characters, and also a favorite of Kevin Feige's, and now it looks like he may be headed to theaters in 2013</p>

Doctor Strange is one of the weirdest Marvel characters, and also a favorite of Kevin Feige's, and now it looks like he may be headed to theaters in 2013

Credit: Marvel Comics

The Afternoon Read: Will we see 'Doctor Strange' in theaters in 2013?

Plus Lars Von Trier plans to get even more graphic with 'Nymphomaniac'

Welcome to The Afternoon Read.

What a morning.  I've already suffered one heartbreak today, and I'm not even done with my e-mail.  I can't believe it's already August.  Hopefully you guys checked out The Travis McGee Book Club this morning, which was a great way to spend a Sunday afternoon here at the house.  There's so much going on this morning that it's worth diving right in to share it all with you.

For example, I love that Twitch has been giving the trades fits lately by publishing scoops before the trades can.  There have been a few public fits as a result, and the response from Twitch has just been to get better and better and to publish more.  Today's story about the possibility of a "Doctor Strange" film in 2013 from Marvel is an exciting one.  Thomas Donnelly and Joshua Oppenheimer have evidently turned in a draft of the film that has gotten Marvel confident enough to now go out and pick a director for the film.  I love "Doctor Strange" precisely because it's so weird to see them drag magic and demons and other realms into the "reality" of the Marvel Universe.  And since this will be one of the Marvel Studios movies, expect to see the character layered into the exact same cinematic world that the Avengers already inhabit.  There have also been rumbles lately that "Ant-Man" is finally picking up steam, with Edgar Wright and Joe Cornish still attached as writers.

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<p>This is the cover I like most out of the various paperback editions I've found of 'The Deep Blue Good-by,' the first in the Travis McGee series by John D. McDonald</p>

This is the cover I like most out of the various paperback editions I've found of 'The Deep Blue Good-by,' the first in the Travis McGee series by John D. McDonald

Credit: Fawcett Gold Medal

The Travis McGee Book Club #1 - 'The Deep Blue Good-by'

The first in a monthly series about John D. McDonald's greatest creation

"The Deep Blue Good-by"


April 1964

Chookie McCall
Cathy Kerr
The Alabama Tiger
Junior Allen
Joe True
Catherine Berry
Rollo Urthis
Lois Atkinson
William Callowell
George Brell
Angie Brell
Lew Dagg
Gerry Brell
Hack Wicker

There is only one place this series could begin.

That's onboard the Busted Flush, Slip F-18, Bahia Mar, Lauderdale.  A 52-foot barge-type houseboat, a long-term berth.  The home of Travis McGee.

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<p>I'm guessing someone's a big fan of '2001'</p>

I'm guessing someone's a big fan of '2001'

Credit: Angels and Airwaves/AVA

Science-fiction indie film 'Love' tries unconventional self-distrib event

Details on where and how to see movie and live music from Angels and Airwaves

There's a hunger out there right now, and I'm curious to see what happens when someone manages to satisfy it in just the right way.  It's coming.  It's just a matter of when and which film and what timing.  I had one conversation recently with a friend who was talking about how much he wants to have an experience with a SF film that comes out of nowhere and blows his mind, something that is about ideas instead of effects.  Another friend and I were debating about why some films get grass roots support and others don't and whether a "no-name" film can ever really get that kind of push.

The truth is, no film succeeds on its own, and there's no such thing as a "no-name" film once you start showing it to audiences and press.  Films can be engineered as carefully as you want, but the truth is that they end up having lives of their own once they're out there in the wild, and all a filmmaker can do is hire the right publicist, cut a great trailer, enter the right festivals, and pray.

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<p>The new film 'Red Tails' will tell the story of the real-life Tuskegee Airmen of WWII</p>

The new film 'Red Tails' will tell the story of the real-life Tuskegee Airmen of WWII

Credit: 20th Century Fox/Lucasfilm Ltd.

Watch: George Lucas finally pilots 'Red Tails' onscreen, first trailer revealed

Terrence Howard and Cuba Gooding Jr. star in ensemble historical action drama

I feel like I'm publishing a photo of Bigfoot or an interview with JD Salinger here.  When I woke up this morning and saw that there was allegedly a trailer online for the new film "Red Tails," I laughed at the mere idea of it.  There can't be a trailer for "Red Tails" because there's no way George Lucas will finally wrap up work on "Red Tails" at any point in my lifetime.  He's been talking about making this film since sometime in the early 1900s, it seems like.  Okay, maybe it was the '80s when he first started talking about it, right around the same time he produced "Tucker: The Man And His Dream," and the script was in development for about 20 years.

I'll let you consider that for a moment.  20 years to develop a script.

In other words, "Red Tails" must be the greatest produced work of screenwriting of all time if they took that long nailing it down, right?  Anthony Hemingway is the director who finally got picked to bring the film to life, and he's a TV vet with a pretty impressive background.  "Treme."  "Community."  "True Blood."  "Battlestar Galactica."  "The Wire."  He's done his time, and he's worked his way up from 2nd AD to AD to director, and "Red Tails" looks like his reward at the end of that trip.

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<p>&nbsp;Don Cheadle and Brendan Gleeson co-star in the sly, violent new comedy 'The Guard'</p>
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 Don Cheadle and Brendan Gleeson co-star in the sly, violent new comedy 'The Guard'


Credit: Sony Pictures Classics

Review: Brendan Gleeson and Don Cheadle team up for darkly hilarious 'The Guard'

If you love smart character comedy, this is your best weekend bet

"What a beautiful fookin' day."  

With that greeting, Brendan Gleeson kicks off the dry-as-a-bone wicked Irish comedy written and directed by John Michael McDonagh, a film that lays its traps quietly, expertly performed and with a strong sense of voice and location.  "The Guard" gives Brendan Gleeson one of the best roles he's ever had, and he plays it perfectly.  "The Guard" is one of the highlights of the year so far, and the sort of thing that could easily get lost in a weekend like this one.

That would be a shame.

Gleeson plays Sergeant Gerry Boyle,  a guy who has found his place in life and who enjoys what he's carved out for himself.  He likes his community.  He likes his place in it.  He likes who he works with, and he likes the work itself.  When there's a murder in his town on the same day he's breaking in a new guy, Garda McBride (Rory Keenan), it's the kick-off to a strange, twisted string of collisions and misunderstandings and calculated betrayals, and the way McDonagh orchestrates it all is masterful.  His brother Martin McDonagh was the writer/director of "In Bruges," and he's a gifted playwright. 

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<p>Miranda July is the writer, director, and star of 'The Future,' a quirky, personal vision of responsibility and love</p>

Miranda July is the writer, director, and star of 'The Future,' a quirky, personal vision of responsibility and love

Credit: Roadside Attractions

Review: 'The Future' offers up a personal, quirky view of late-30s relationships

Miranda July's second film crystallizes her filmmaking voice

Miranda July has become a polarizing figure among the film fans who know her work, and I understand why.  She is eccentric, both as a writer/director and as a performer, and it's such an organic, complete part of her personality that I can't imagine her ever shutting that off and making more "conventional" films, and I think that's just fine.  The voice she's developing as a filmmaker is sweet and funny and odd, and it feels like she's grown in the six years since she made her first film, "Me and You and Everyone We Know."

The film opens with a voice-over by a cat named Paw-Paw who is wasting away in a shelter, dying, praying for someone to take him home.  Her salvation comes in the form of Sophie (July) and Jason (Hamish Linklater), a couple who have been rolling along in a state of inertia for years.  They're determined to change things, experience new things, and try to accept some new responsibilities.  They haven't accomplished much, and they're at that point in life where they have to start thinking that maybe they won't, and it's obvious that the thought scares them.

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