Another day, another snafu on the ol' political correctness front. It seems that adoptive parents and adoption agencies are up in arms because of a line in the trailer for Warner Brothers' forthcoming thriller, Orphan: "It must be hard to love an adopted child as much as your own."

A full ABC News report has parents calling for the studio to remove the line from the trailers, which it did, despite the fact that the trailer can only play before other R-rated films. But that's not enough, because apparently, the film itself can be and has been taken as one big campaign playing up the stereotypes and exploiting the fears of adoption.

I can't speak for everyone, but I'd like to think that any potential parent who finds themselves scared off from real-world adoption because of something they saw in a heavily exaggerated movie probably do not have the proper judgment to serve as a parent in the first place. As for the effect that line and the whole premise might have on adopted kids specifically, I really can't speak to that, as I don't know how exposed to the film's marketing they'd be if watching appropriate channels and seeing appropriate movies.

What are your thoughts? Over-reaction? Just right reaction? Or are we simply overdue for this summer's next big controversy?

[Thanks to Shock for the heads-up.]

The way casting announcements and pics of a pudgier Matt Damon had come down the pike, one had every reason to think that Steven Soderbergh's The Informant! (now with exclamation point) was going to skew more serious than its newly debuted trailer sells.

It's not that there's anything wrong with telling the real-life story of a bi-polar whistle-blower (Damon) with a more decidedly comedic bent, but 'thriller', this does not scream. Then again, maybe Soderbergh just wanted to lighten things up after the epic Che and the austere The Girlfriend Experience, and if that's indeed the case, things do seem to be heading more towards the Ocean's Whatever lark end of his spectrum.

Although most sites seem to have The Informant! with an October 9th release date, the trailer and the page around it (you know, with the 40-Year-Old Virgin-like possible poster art) both state September (in line with a 9/18 date we've seen floating around elsewhere). Either way, I suspect that an appearance at one of this fall's high-profile festivals will help assure us that the film does indeed merit its especially enthused punctuation and that the Damon does indeed merit his schlub-tastic appearance.

Essentially there are two kinds of gangster movies: those made during the time when men wore hats in real life and those made during the time when men wore hats that came from wardrobe. The first type are usually in black-and-white, punchy, nervy and full of wisecracks. The second type are usually longer and more violent, but slower-paced and nobler of purpose, as if the hats suddenly carried an extra weight, an extra sadness. What Michael Mann has achieved with the new Public Enemies is an often fascinating, striking combination of the two.

I walked into the new film, convinced that it could never top lean, mean B-movie classics like Max Nosseck's Dillinger (1945) or Don Siegel's Baby Face Nelson (1957) in which these gangsters were initially immortalized. But it equals them, capturing some of their raw energy and allure and clocking in as a longer, but equally fast-moving and adrenaline-pumping example. Somehow Mann only manages to use the extra time for flash and spectacle, and hardly any for depth or detail, but that only helps to speed things along. Happily, he also avoids the typical origin story, and plunges right in.

A mere week after Sony canned Steven Soderbergh's Moneyball, another big-budget film may have bitten the dust. Fox is putting the breaks on Tony Scott's next project, Unstoppable, over budget concerns, and may can the project altogether.

According to The Hollywood Reporter, the film was set to begin shooting in fall, and Denzel Washington and Chris Pine were attached to play the leads. But none of the acting deals have been officially closed, and not even Scott is definitively signed to the project. Fox is growing more and more concerned about the cost of production on the thriller, which would be quite high -- after all, it centers around a runaway train loaded with toxic chemicals, and it's being stopped by the $20 million dollar Denzel Washington. While the film isn't in as much production peril as Moneyball, its budget is definitely a roadblock, and fat will have to be trimmed somewhere. Maybe they can make a smaller train, or just have it be an unstoppable semi-truck, or maybe some of the A-Listers can take a pay cut ... something like that.

This summer has seen a lot of big-budget films falter at the box office, so studio hesitations are understandable, and budget trimming has been a long time coming. Though I do love a good action flick, I'm neither here nor there about the plot of Unstoppable, but it would be a shame for Pine to lose his next big role, and kill his Captain Kirk Buzz. So let's hope they figure out how to cut some corners.

Guy Pearce just doesn't do enough movies for my liking. It's not as though he's vanished, but he seems to maintain a fairly low profile every time he blows everyone away with a big, meaty part like L.A. Confidential or Memento. But he has a lot of great projects coming up (the most exciting of which has to be The Road), and he's added a very intriguing one to his slate: the remake of 1973's telepic Don't Be Afraid of the Dark.

According to The Hollywood Reporter, Pearce and Bailee Madison have joined Katie Holmes in Troy Nixey's remake. It's a fairly loose adaptation of the 1973 original, which was centered around a couple, Sally and Alex, who inherited an old mansion from Sally's grandmother. Sally accidentally uncovers a hellish portal that allows a bunch of demons to escape and wreck bloody havoc. Naturally, no one believes her, and is convinced she's having a nervous breakdown thanks to all that home repair. Because it was the 1970s, it didn't even end well for Sally who just wanted a new fireplace. For those tired of seeing "remake" tacked onto everything, and for fans of the original, you'll be happy to know that the new Dark isn't so much a remake as a story "inspired by" those demonic creatures of old.

Check out the rest of the story at The Horror Squad

Back at last year's Fantastic Fest, I was privy to a conversation between Scott Weinberg and screenwriter Marcus Dunstan about the latter's latest project (he'd just done some Saw sequels and was in town for his Feast follow-ups). It was called Midnight Man at the time, and if I could remember what it was about, I'd tell you. (Honest!) I just remember being vaguely psyched for it.*

Well, the film's done now, under a new name of The Collector and accompanied by a bunch of solid buzz from genre sites all over and none other than Alamo Drafthouse head honcho Tim League himself. Thusly, Fantastic Fest and our own Horror Squad have teamed up to bring an early screening of the film to Austin before its July 31st theatrical run.

For more details on this free (!) sneak peek, head on over to Horror Squad.

*"Vaguely psyched!" - Go ahead, put that on the poster.

A new adaptation (I refuse to use the word remake here) of Fahrenheit 451 has been in the works for ten years now. I was very excited by the news that Mel Gibson was planning it as a Braveheart follow-up, as it seemed like that would mark a new and serious phase of his directing career. I wish that was something I could have been right about.

Frank Darabont was the next one to take it on, and he's been attached to it since 2001, rewriting Terry Hayes' script and being delayed by everything from Indiana Jones IV, Mission Impossible III, The Mist, and Law Abiding Citizen. SciFi Wire caught up with Darabont at the Saturn Awards, and the director / writer declared that it was really time to get on with it already ... and that it might actually get underway this time, depending on whether or not the Big Name Actor he wants signs on.

"Fahrenheit is the thing I'm trying to get up next, which is casting-dependent, so it's one of those. I'm out to somebody at the moment, fingers crossed, because, boy, do I want to make that movie. I'm not giving up. I'll die in the traces before I don't make that movie ... It's not one of those movies that are vastly expensive by any contemporary standard, but money is still money, and it's of a price that requires somebody that will justify that investment. This is definitely going to be more than The Mist, so those other considerations do come into play."

You can go crazy wondering just who that Big Actor who can pull in the money and box office might be. Could it be someone that rumors have long attached, like Tom Hanks (Darabont's pick for years), Brad Pitt, or Tom Cruise? Or could we be looking at someone newly bankable, like Johnny Depp?

Us critics, we don't hate Michael Bay. Well, not all of us, and not all the time. I wasn't a fan of his Transformers, nor Transformers: Revenge of the Fallen, and I haven't watched The Rock or Armageddon in their entirety in years, but I distinctly enjoyed 2005's The Island during its ill-fated theatrical run (gross: $35 million, cost: between three and four times that), and I still do as a decent sci-fi/action matinee outing.

But how?, I've been asked. It does after all bear every other trademark of a Michael Bay outing: explosions, rampant product placement, blatant racial stereotypes, explosions, perpetual dusk lighting, explosions, and a female lead constantly flattered by her wardrobe (yeah, a real woe-is-us scenario).

It looks like our beloved tween king really wants to move on from the glitz and glamor of tweendom. They grow up so quickly! Remember when Zac Efron bowed out of Footloose hoping to stop the neverending roll of typecasting after the High School Musicals and Hairspray? Well, he's taken his next step towards making that possible. The Hollywood Reporter posts that Efron will star in an upcoming untitled thriller for Mandate Pictures, one that he will also executive produce.

We're not getting any plot details yet, except for three words. It will be "a sexy thriller." Something along the lines of Basic Instinct? Mulholland Drive? I'm more inclined to believe that it's just an adult thriller, and Mr. Executive Producer wanted some sort of description released to alert us to the more adult fare. As we all know very well by now, "sex," "sexy," "stripper," and those other saucy s-words are essential when Disney alums try to break out of the fluff and into the meaty adult roles.

Leslie Dixon, the multifaceted writer behind films like The Thomas Crown Affair, Overboard, and Zac's own Hairspray remake will write the script, and as of now, there's no director attached. I'm just trying to imagine the dude in a sexy movie, but any film I slip him into makes me giggle, so I turn the question over to you: Are you ready for sexy Efron thrills?