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‘At the Mountains of Madness’ Happening, Only It Will Be PG-13…

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How desperate is Guillermo del Toro to being us an adaptation of H.P. Lovecraft’s At the Mountains of Madness? Well, he’s willing to compromise with Universal Pictures, against his better judgement, stating that he’ll make the creature feature a PG-13 horror film.

The 3-D film originally had Tom Cruise in talks to star, but also had a ballooning budget of over $120M, which was a lot considering del Toro wanted it to be R-rated. The studio killed the movie, which resulted in us being gifted with Pacific Rim, among other great stuff like the forthcoming “The Strain.”

Del Toro now has a blooming relationship with Legendary Pictures, producers behind the project, and in an interview with the WSJ reveals that At the Mountains of Madness may be back in his cards.

I said to them, that’s the movie that I would really love to do one day, and it’s still expensive, it’s still … I think that now, with the way I’ve seen PG-13 become more and more flexible, I think I could do it PG-13 now, so I’m going to explore it with [Legendary], to be as horrifying as I can, but to not be quite as graphic. There’s basically one or two scenes in the book that people don’t remember that are pretty graphic. Namely, for example, the human autopsy that the aliens do, which is a very shocking moment. But I think I can find ways of doing it.

We’ll see. It’s certainly a possibility in the future. Legendary was very close to doing it at one point, so I know they love the screenplay. So, we’ll see. Hopefully it’ll happen. It’s certainly one of the movies I would love to do.

Madness is the deliberately told and increasingly chilling recollection of an Antarctic expedition’s uncanny discoveries-and their encounter with untold menace in the ruins of a lost civilization-is a milestone of macabre literature.

I always trust the filmmakers to do what’s right for the movie, and if he thinks he can pull it off with a PG-13, well, God bless. You can see some of del Toro’s early sketches here.

Unfortunately, it looks like this could take a back seat to Pacific Rim 2, which he briefly talks about.

I don’t want to spoil it, but I think at the end of the second movie, people will find out that the two movies stand on their own. They’re very different from each other, although hopefully bringing the same joyful giant spectacle. But the tenor of the two movies will be quite different.

You can read the entire review at the aforementioned link.

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Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

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‘Atlas’ Trailer – The Algorithm Told Netflix You Want to Watch Jennifer Lopez Pilot a Robot Killing Machine

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Up next from Rampage director Brad Peyton is the sci-fi movie Atlas for Netflix, and Netflix has unleashed the brand new official trailer this morning. You can check it out below.

Jennifer Lopez stars in Atlas, coming exclusively to Netflix on May 24.

“The film follows Atlas, a woman fighting for humanity in a future where an AI soldier has determined the only way to end war is to end humanity. To outthink this rogue AI, Atlas must work with the one thing she fears most — another AI.”

The upcoming science fiction film’s cast also includes Simu Liu, Sterling K. Brown, Gregory James Cohan, Abraham Popoola, Lana Parrilla and Mark Strong.

Peyton said in a recent statement, “Having the chance to direct Jennifer Lopez in the title role of this movie is a dream come true, as I know she’ll bring the incredible strength, depth and authenticity we’ve all come to admire from her work.”

Leo Sardarian wrote the original script, with the latest draft by Aron Eli Coleite.

Producers for the Netflix genre movie include Peyton, Lopez, Jeff Fierson, Joby Harold, Tory Tunnell, Elaine Goldsmith-Thomas, Benny Medina, Greg Berlanti and Sarah Schechter.

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