There's geeks, there's nerds, there's studious types and then there's Russian paleontologists who write novels "set during and after the end of the War of the Ring (the climactic battle at the end of "The Lord of the Rings") and told from the point of view of the losers."

Those people are awesome.

Here's the details from Salon.

"As bad lots go, you can't get much worse than the hordes of Mordor from J.R.R. Tolkien's 'The Lord of the Rings.' Led by an utterly evil disembodied entity who manifests himself as a gigantic, flaming, pitiless eye, and composed of loathsome orcs (or goblins), trolls and foreigners, Mordor's armies are ultimately defeated and wiped out by the virtuous and noble elves, dwarfs, ents and human beings -- aka the 'free peoples' -- of Middle-earth. No one sheds a tear over Mordor's downfall, although the hobbit Sam Gamgee does spare a moment to wonder if a dead enemy soldier is truly evil or has simply been misguided or coerced into serving the dark lord Sauron.

"Well, there's two sides to every story, or to quote a less banal maxim, history is written by the winners. That's the philosophy behind 'The Last Ringbearer,' a novel set during and after the end of the War of the Ring (the climactic battle at the end of 'The Lord of the Rings') and told from the point of view of the losers. The novel was written by Kirill Yeskov, a Russian paleontologist, and published to acclaim in his homeland in 1999. Translations of the book have also appeared in other European nations, but fear of the vigilant and litigious Tolkien estate has heretofore prevented its publication in English.

"That changed late last year when one Yisroel Markov posted his English translation of 'The Last Ringbearer' as a free download. Less polished translations of brief passages from the book had been posted earlier on other sites, but Markov's is the 'official' version, produced with the cooperation and approval of Yeskov himself. Although the new translation's status as a potential infringement of the Tolkien copyright remains ambiguous, it may be less vulnerable to legal action since no one is seeking to profit from it."

 

Here it is. The "X-Men First Class" trailer which details the beginning of the X-Men saga.

Extra bonus? John F. Kennedy narration. Well, some will find that a bonus.

The movie, opening this spring June 3, stars James McAvoy, Michael Fassbender, January Jones, Rose Byrne, Jennifer Lawrence, Zoë Kravitz and Kevin Bacon (among many more).

It's directed by Matthew Vaughn.

Take a look:


 

The South By Southwest (SXSW) Film Festival has found a choice picture to open its fest come March 11: Duncan Jones' "Source Code."

Here's more from EW Inside Movies:

"The SXSW Film Festival will open on March 11 with director Duncan Jones’ Source Code, starring Jake Gyllenhaal and Vera Farmiga.

"The festival, which takes place for nine days in Austin, Texas, will screen nearly 300 films and feature panel conversations with Jones, Gyllenhaal, director Todd Phillips (The Hangover), Paul Reubens, James Gunn (Slither), Ellen Page (Inception) and Rainn Wilson (The Office), among others."

 

Oh, this is very sad. Kenneth Mars has passed away. He was 75 years old.

If you don't recall the name immediately (shame on you!), but if you don't you couldn't possibly forget his hilarious roles in two of Mel Brooks' greatest comedies, "The Producers" and "Young Frankenstein."

Here's a clip of his Inspector Kemp in "Young Frankenstein":


And here's more about Mars from EW. May he Rest in Peace:

 

The For the Love of Film (Noir) Blogathon  hosted by the inimitable Self-Styled Siren and Ferdy on Films, continues! Writers and film fans, please contribute not just your pen, but your payment, to the blog-a-thon. Proceeds will go to the Film Noir Foundation's restoration of the 1950 noir "The Sound of Fury." Donate here.

For my contribution at the Hitlist, I'm taking us through the week with one of noir's greatest icons -- Barbara Stanwyck -- highlighting some of her top noir performances.

Here's Stanwyck, Wilder, MacMurray and that wonderful ... wig.

"Double Indemnity" (1944) Billy Wilder

Already proving her mettle in screwball comedy, Stanwyck took on the dark art of film noir with nasty brilliance. Creating one of noir's most inspired, iconic femmes fatales, Stanwyck's double-crossing, bitch-seductress Phyllis Dietrichson in Billy Wilder's seminal "Double Indemnity" remains unparalleled. Donning the now famous blond wig, a sexy, cynical smirk and (dear God!) that anklet, she oozes a snaky sex appeal that manages to be evil and, in flashes, vulnerable. After eyeing her mark in Fred MacMurray's insurance salesman, Stanwyck convinces the lovesick lug to help plot and execute the murder of her husband in the hopes of cashing in on the dead man's insurance policy and supposedly living happily ever after. But, as usual in these situations, nothing ever comes off without a hitch -- numerous hitches, in this case.

All dolled up in pom-pom heels, creamy sweaters and dramatically lined lips, Stanwyck's Phyllis, who's not as young as she used to be and not quite as lush, can't hide the poison within her. And her chemistry with MacMurray sizzles as they swap barbs and coos (co-written by Raymond Chandler from a James M. Cain crime novella) with sleazy ease. They yearn for more, but Stanwyck, the prototypical noir siren, seems perfectly aware of how fatalistic this kind of dream really is. Sometimes murder really does smell like honeysuckle.
 

Spider-Man has a name! The movie, that is.

 Returning to its roots, the film will be called "The Amazing Spider-Man."

Here's more from the Huffington Post:

"Spider-Man's future gives a nod to its past.

"Sony Pictures announced the title of the new Spider-Man movie today, revealing that the series reboot will be called 'The Amazing Spider-Man.' That's the name of the original comic book (well, after Spider-Man debuted in Amazing Fantasy #15), and it's appropriate, because the film will take viewers back to Peter Parker's early days as the wall crawler.

"Andrew Garfield will play the geeky Parker and conflicted, guilt-ridden Spider-Man (whom he had to bulk up to portray), while Emma Stone will play Gwen Stacey, his high school girlfriend (before he dated the iconic Mary Jane). The film is being directed by Marc Webb."
 

The For the Love of Film (Noir) Blogathon  hosted by the inimitable Self-Styled Siren and Ferdy on Films, starts today -- the perfect day, really, since so much of film noir concerns an emotion that makes many moody, malicious and, often in the best cinematic scenarios, murderous. Writers and film fans, please contribute not just your pen, but your payment, to the blog-a-thon.

Proceeds will go to the Film Noir Foundation's restoration of the 1950 noir "The Sound of Fury." Donate here.

For my contribution at the Hitlist, I'm taking us through the week with one of noir's greatest icons -- Barbara Stanwyck -- highlighting some of her top noir performances.

Today begins with a really bad phone call ...

"Sorry Wrong Number" (1948) -- Anatole Litvak.

As proven by this enthralling picture, Stanwyck could be physical and fascinating even while lying in a bed and simply talking on the telephone. Of course it helps that she's desperately attempting to save her life in a dangerous telecommunications scenario involving both a nefarious husband and the unending bureaucracy of the telephone company, but I'm certain Stanwyck would be gripping even if she was merely chatting with a girlfriend. As Leona Stevenson, an invalid heiress, Stanwyck gives us a masterfully complex vision of fear and dread without being shrill or one-note about her situation. And that situation is terrifically frightening. After picking up a phone call with crossed wires, Leona overhears two men discussing a murder plot. She's frightened, obviously, but becomes absolutely terrified when she realizes the mark is (gulp) her. Via elaborate flashbacks we learn more about her situation, chiefly Leona's estranged, shady husband (played by Burt Lancaster), who's gotten in so deep with gangsters that he has resorted to this murderous plan. And Stanwyck's performance is complicated, vulnerable and endlessly fascinating.  

It's valentine's day and for all you lonely people, here's some movies that will get you through a day that either depresses you or makes you ... sick. Even if you're not alone, the day can be incredibly awful.

In any case, here's five movies might make you happy to be single. 

And, when I think about it, I find the first movie strangely romantic. Anyone's who been in a dysfunctional relationship will agree.

"Who’s Afraid of Virginia Woolf" (1966)
Elizabeth Taylor de-glammed herself to play opposite real life hubby Richard Burton in Mike Nichols’ brilliant adaptation of Edward Albee’s award-winning play, which concerns serious, serious dysfunction. “Braying” Martha enjoys calling her history professor husband George “Swampy”, “A cluck” and “A bog! A bog in the history department!” while fielding equally nasty jabs from George (“You have vulgar talents”) in mind games that would make Dr. Phil’s head explode. And to top it off they invite guests! But while the dynamic dysfunctional duo hit below the belt, there is something oddly romantic to their union (I’m not kidding). At least they’ve stayed together and well, kept it interesting. Especially when she creatively exclaims why she’ll never leave him: “I swear if you existed I’d divorce you!”

"Baby Doll" (1956)
Tennessee Williams knew how to write about unhappy pairings (A Streetcar Named Desire, The Glass Menagerie, Sweet Bird of Youth), but in terms of dissatisfied, unhealthy relationships Baby Doll (directed by Elia Kazan) takes the cake. Carroll Baker plays the young bride (named “Baby Doll”, as she still sleeps in a crib!) to a dim-witted and desperate Karl Malden’s Archie Lee who has to wait until her twentieth birthday in order to consummate their union. With Baker in the house that’s got to be tough and Archie isn’t so happy about it—he even “threatens” her with the consummation on her upcoming birthday (my, how romantic). In the process, all the furniture in the house has been seized and Archie makes the smart decision to burn down a competitor’s (Eli Wallach) cotton syndicate. What happens? Well, Wallach wants revenge and the best way is through Baby Doll. The film’s incredibly steamy in scenes, and Baker never looked prettier, but fellas: next time you meet a gal named “Baby Doll,” you may want to think twice before marrying her.

Alfred Hitchcock’s "Vertigo" (1958) and "Marnie" (1964)
Let's see: The heights-challenged Jimmy Stewart is hired to spy on a friend’s wife (Kim Novak) who has reportedly become possessed by some ancestor named Carlotta. Stewart follows Novak all over San Francisco and falls for the beautiful-though-daf​fy dame. When she dies, he goes nutty, especially when he finds her dead ringer in another woman, only he needs her to change her hair and her clothes and the way she walks and…it just gets creepier. As for Marnie, Tippi Hedren plays the titular character, an incredibly disturbed woman who flips out at the sight of red and can barely stand a man touching her. She does get her thrills stealing from men, but that’s not very romantic is it? Enter a Freud-obsessed Sean Connery who’s intent on taming her. So they get married. And how’s that honeymoon? Well…I think Marnie hollers something about men being “beasts.” Thanks to Hitchcock for making two of the most beautiful films about how truly insane the pursuit of love can be.

"Your Friends and Neighbors" (1998)
Good old Neil LaBute not only loves portraying screwed-up marriage/relationshi​ps, he almost wallows in the depiction. And this one is especially harsh. Just think back to Jason Patric’s character and you’ll never want to date again. For an earlier yet no less devastating look at the war between men and women, see LaBute's debut film, In the Company of Men.

"Carnal Knowledge" (1971)
Watch this movie and you’ll never, ever want to get married. Living in a house with 40 cats over a relationship like the ones in Mike Nichols’ Carnal Knowledge? OK, sign me up. Especially if you recall that screaming scene between Ann-Margret and Jack Nicholson: “You want a job? I got a job for you. Fix up this pigsty!... You want an extra fifty dollars a week, try vacuuming!…” The topper? “Why don't you leave me? For God's sake, I'd almost marry you if you'd leave me.” May be one of the most searing examples of "the excitement is gone" ever made. Dear Lord.