Here’s some disappointing news for fans of the immensely popular TV show, House as Fox have decided to end the show after the eighth season when it ends in May. According to Deadline who broke the story (and have a full report), Fox will give it’s creator David Shore the chance to end the show earlier than some may like so that he can give the characters a ‘proper ending’.

I’ve never actually seen House but I know so many people love it and I’m sorry to be the bearer of bad news if HeyUGuys is where you’re reading this news first.

House stars or has starred Hugh Laurie as the title character, Robert Sean Leonard, Omar Epps, Jesse Spencer, Peter Jacobson, Jennifer Morrison, Olivia Wilde, Kal Penn, David Morse, to name but a few.

Premise: He has little patience for patients, but misanthropic Gregory House is a brilliant diagnostician who probes life-and-death medical mysteries while ‘CSI’-style graphics follow each disease’s progression. ‘X-Men’ director Bryan Singer is one of the executive producers.

Let us know your thoughts in the comments below. I’m sure most of them will be rather gutted to hear the news.

I’m been pretty unenthusiastic about Disney’s John Carter. Let’s just get that straight. From the first trailer to the almost 10 minutes of footage screened at D23 this past year, I remain unconvinced.  While the work of fiction by Edgar Rice Burroughs are universally adored, and borrowed from, I have never been compelled into his world.  In fact, after seeing the trailer I have been calling it the poor mans “Avatar”.  I am fully aware the unfairness in that statement so don’t right me hate mail about how Cameron’s Avatar borrowed from the Mars novels.  I understand that the books came first.  However, in this fickle world of entertainment it sometimes comes down to who gets there first.  In that respect Avatar got their first.  The John Carter story feels very similar to Avatar in the theme that a white human finds himself on a distant planet with obligations to save the people who reside there. He also might find himself falling for the “princess” character.  Thus my opinion that John Carter won’t draw the audience it probably deserves.

In fact, Germain over at Slashfilm.com has highlighted an interesting point that Vulture brings up stating that John Carter has to earn $700 million to justify a sequel. Now, in any other circumstance I’d question why people are talking about sequels when the film itself isn’t even out yet.  It seems Hollywood likes to shoot for sequels these days as opposed to getting film #1 right. However, the Mars series is vast and I am sure the filmmakers have thought about that a few times during production.  In Germaine’s piece he states

$700 million would put the film in the top 50 highest grossing films of all time, something Stanton previously experienced with Finding Nemo. However, that’s a tough mountain to climb for a movie with an unproven lead star, unspecific title and little in terms of general audience buzz six months out from a March 2012 release.

Those last few points, however, are virtual mirrors of what people said before Avatar came out and that seemed to do pretty well. We also know that Stanton is a stickler for story and visuals, so you’ve got to be pretty confident the film will at least be good. Then there’s that Disney marketing machine, sure to kick into high gear around the holidays, that will plaster the film everywhere. Of course, that huge marketing push is part of the reason why a $250 million movie costs more like $400 million before one ticket is bought. But, if it works, it could pay off big.

Now all this seems pretty serious.  I made this Mash-Up for fun based purely on the idea that the John Carter trailer looks just like the Avatar trailer. So last night I threw this together as proof.  I have embedded the John Carter trailer first in case you haven’t seen it. Below that is my mash up which features the audio from John Carter trailer with the Avatar visuals.  I actually didn’t have to do that much editing to find the right parts to fit.  In fact some of them are pretty organic. My favorite bits are when Jake Sully is parrying Quarritch. You actually hear the sword sound.  Again, later in the trailer, the power loader machines are rolling out of the cargo ship and the John Carter audio lends itself perfectly for that.  This was just fun to do and proves my undying love for Avatar.  Bring it on John Carter.

What Do You Think?

The early exploits of Charles and Erik (aka Professor X and Magneto) will be hitting cinema screen in just under two months time in the guise of X-Men: First Class, and Total Film have created some fantastic-looking tie-in retro magazine covers, which you can see below.

Underneath those is a truly fabulous fan-made Saul Bass-inspired opening credits sequence to the film. The artist behind this (credited as Joe D!) has clearly put much effort into recreating the look of feel of the decade in which the film is set.

On the strength of both efforts here, it wouldn’t hurt for Fox (the studio behind this prequel) to sit up and take note, particularly in light of their incredibly lacklustre promotional imagery from last month.

Enjoy, my mutant brethren…..

X-Men: First Class Title Sequence from Joe D! on Vimeo.

Millions of Angry Birds fans are waking up this morning to an exciting new instalment of their favourite game, albeit one with a not so subtle difference.

Angry Birds Rio takes the original games mechanics, tweaks them slightly and weaves around it a story in which the titular vexed creatures have to smash locked birdcages and release the stars of the film. It’s a minor stroke of genius to jump aboard the Angry Birds train to promote the film and in aligning themselves with game creators Rovio, Fox and Blue Sky have millions of fans of the game poised to jump upon  this new opportunity to enjoy a whole new iteration of their favourite game and thus promote their film to millions in one fell swoop.

This in itself in not a new concept. Universal recently gave another popular iPhone app, Doodle Jump, a Hop makeover, the two properties seemingly made for each other. The Hop version of Doodle Jump is a free download whereas Angry Birds Rio has a price tag of 59p and this is partly a factor in the success of the original game as it is a small price to pay for so many hours of entertainment. Only with a branded version of Angry Birds could you ask people to pay a charge to, in effect, be advertised to relentlessly, and there’s more thought gone into this gamble as you can bet that Angry Birds Rio will stay at the top of the Paid Apps chart whereas the Free Apps list is far more fluid. As of right now the game tops the Paid Apps and Top Grossing App chart – incredible for a game released just this morning.

Movies and their video game tie-ins have a long and well trodden path, with landfills of Atari 2600 ET cartridges lining the sides, and virtually every mainstream movie is now launched with a host of video game companions, on every available system. Just last night we were given a glimpse of what might have been if Duncan Jones’ Moon was released in the earlys 90s, and I remember 20 odd years ago seeing the Weetabix had commissioned someone to make a game to advertise their cereal. It was rubbish, and yet Angry Birds Rio is borne out of the same urge to market by any means necessary.

This is not the first time Angry Birds has been connected to the world of movies, as it was recently reported that there was to be a movie version of the game. Why this is should be the case when the property is far more suited to short animations in the style of Wile. E. Coyote is beyond me, but so far this tie-in with Rio could be a sign of things to come. It is far less risky to adapt a successful game than to create your own and compete with it, plus you can guarantee that when the Rio theatrical and subsequent Home Entertainment releases come out you will see significant updates to the new game, keeping the film alive in people’s minds. Indeed within the game there is a link to a Rio movie trailer and updates to the game scheduled for May, July, October and November ensuring that people keep coming back for more.

Certain films lend themselves very well to game adaptations and much of the summer blockbuster set will find an eager audience with toy manufacturers and console owners but Angry Birds Rio is something different. The iPhone continues to be a huge success as a games machine and this has meant that portable (or casual if you must) gaming is available, and enticing, to all. You can imagine when Cars 2 is released it will come with a slew of videogames on every available platform, the iPhone included. What is different is that Fox and Blue Sky have decided not to make their own game but rather to hijack an incredibly successful one instantly getting their film (or brand, again, if you must) in front of a huge audience.

Film marketing bodies have already woken up to Facebook and the example of the recent 8-bit renditions of Hobo With a Shotgun, and Scott Pilgrim games are a clear indication that we’re seeing a resurgence of this kind of cross media marketing with the smartphones being a particularly powerful weapon in their war to win an audience.

They did miss a trick though, as it is easy to imagine Drive Angry Birds 3D app in which you fire mini Nicholas Cage faces at Demons in a cartoon Hell with a realistic physics environment. Perhaps Sucker Punch could redesign Plants Vs. Zombies with the girls fighting off advancing dragons and airships, Joe Cornish’s Attack the Block lends itself perfectly to a Tower Defence game and it’s a shame that the Saw franchise is over as it is could have been the perfect vehicle for a Cut the Rope redesign – sever the ropes tieing up a helpless victim suspended over a fiery pit, swinging them into the waiting arms of the police. I’d buy it, and for a dollar too.

Here’s some good news for those out there who are missing their regular Jack Bauer testosterone fix. Deadline is reporting that Kiefer Sutherland may be in the process of being lured back to Fox. The actor is currently in negotiations to star in drama pilot Touch.

Created by Tim Kring, the phrase “high concept” definitely applies here. Touch concerns a father (the potential part for Sutherland) who discovers that his autistic, mute son can predict events before they happen.

Sounds like an ungodly mix of The Dead Zone and Mercury Rising, with a smattering of Kring’s own Heroes in there for good measure.

TV veteran Charles McDougall, (responsible for the pilots to Desperate Housewives, The Good Wife and Fox’s recent venture, The Chicago Code) is in talks to direct.

The Super Bowl is famed for its tendency to host many of Hollywood’s most anticipated trailers and TV-spots, the studios eager to take advantage of its status as the most-watched televisual event of the year.

With February 6 fast approaching, Paramount has bought enough time to advertise five of its prime summer releases (THR). The event will feature trailers for the likes of J. J. Abrams’ mysterious Super 8, MICHAEL BAY’s final Transformers movie Dark of the Moon, Gore Verbinski’s digimation Rango, Kenneth Brannagh’s Thor and Joe Johnston’s Captain America: The First Avenger.

Disney, meanwhile, have opted to plug their Pirates of the Caribbean: On Stranger Tides, leaving Universal and DreamWorks with enough time to flaunt Jon Favreau’s much anticipated Cowboys & Aliens. While Warner Bros. (busy counting their takings from Harry Potter and the Deathly Hallows: Part I, no doubt) and Fox appear to be sitting Super Bowl XLV out, Relativity Media are pitching in with the relatively low key Limitless, starring Bradley Cooper and Robert De Niro.

Whether you give an Adam Sandler about American Football or not, this year’s Super Bowl is looking set to be compulsive viewing.

Rounding off their hat-trick with 2010 tucked firmly under their belt, Warner Bros. have officially conquered the domestic box office for a third year running.

According to The Wrap, the studio – which released Inception and Harry Potter and the Deathly Hallows: Part I last year – has reported a domestic revenue approaching 1.9 billion for 2010.

Although the domestic market is in fact down $40-$50 million following 2009′s record breaking $10.6 billion haul, Warner Bros. remain triumphant, trouncing rival studios Paramount ($1.7 billion), Fox ($1.6 billion) and Disney ($1.4 billion) with 18.3% market share.

With international totals still being calculated, the battle for foreign box office supremacy is on; Warners and Fox very much leading the way.

Having dedicated one of my precious Truffles (The “You’re hiring Adam Sandler AGAIN” award for the The Worst Possible News of 2010, to be exact) to the news that a Buffy reboot was still in the works – and having made my opinion of said reboot particularly clear - it is with great disappointment that I must report that a number of actresses are currently being considered for the role.

One such contender is Heather Morris, best known for her role as clueless Cheerio Brittany Pierce on  FOX’s Glee. Now, don’t get me wrong, I like Glee and find Morris very entertaining in the role, I simply find it difficult to imagine her living up to the icon most famously played by Sarah Michelle Gellar.

This does not, however, mean that she will necessarily be cast as the titular vampire slayer, recently re-imagined by one Whit Anderson. Amid praising Gwyneth Paltrow‘s involvement in Glee’s second season, she revealed to Access:

“They’re considering me! I found out and I almost peed my pants ‘cause I was so excited! If they make [‘Buffy’] when [‘Glee’] is on hiatus, I don’t even care what I do. I can just run through the shot and do nothing – even if I’m not Buffy!”

With Buffy offering one of the strongest female leading roles since Rooney Mara was cast as Lisbeth Salander, I’m sure it will be some time before we know for sure who will be inheriting ‘Mr. Pointy’ from Joss Whedon‘s acclaimed heroine.

Fox has picked up an animated series of Napoleon Dynamite, an adaptation of the 2004 cult classic.

The original cast are set to reprise their roles in the new series, which “follows the misadventures of an awkward high school teenager and his quirky friends as they struggle to navigate life in rural Idaho.”

Jared Hess and Jerusha Hess, who worked on the 2004 indie comedy wrote the adaptation, alongside Mike Scully (The Simpsons).

Napoleon Dynamite will air for 6 episodes on Fox starting late 2011.

Deadline reported this one.

Whedonites of the world united around the internet a year or so ago to hear the news they were praying for, but not expecting – his mind swapping series Dollhouse was going to get a second series, and what a second series it is.

Out on Blu-ray and DVD today the thirteen episodes continue the intricacies of the the first season, with Eliza Dushku’s multiple personalities vying for space inside her mind, with her doll state (codenamed Echo) able to access, but not control them.

Set inside the Dollhouse, an underground health spa devised by Philip K. Dick, the corporate team and the dolls carry on their work under two dark clouds; the mysterious Rossum corporation (who put the ‘Hell’ in Healthcare) and fallout from the latest visit from the psychotic rogue doll Alpha (played with delicious zeal by Whedon-alum Alan Tudyk). Not to mention the ‘lost’ episode of Season one, the wonderful Epitaph One, in which we see the world ten years in the future, gone to hell in a handbasket thanks to the technology used in the Dollhouse. There was no explanation as to how the world ended up this way, and this is something the second season works towards.

What the second, and as it turned out final, season does for Joss Whedon’s world is to lay less emphasis on the ‘personality of the week’ and give the series narrative over to the conspiracy element which gains furious momentum towards the end as well as stir a healthy dose of moral complexity like only Whedon seems capable of. While the game of ‘who’s the doll’ gets a little frustrating towards the end, there are very decent stories going on here, not least Alexis Denisof’s Senator Perrin and the D.C. Dollhouse and the introduction of Summer Glau’s awkward genius, Bennett.

Standout episodes include Priya’s episode Belonging (directed by Star Trek’s Jonathan Frakes), The Public Eye, the return of Alpha in A Love Supreme and the final four episodes which do a great job of drawing together the multiple narrative strands to a thrilling, and satisfying climax. Then, of course, we go back to the future for Epitaph Two: Return which is both heartbreaking and hopeful – just what Whedon does best.

Dollhouse is a curious series, one that took its time to get going but benefits from a great cast and a decent line in combining its creator’s trademark smart, sparkling humour with some complex ideas and does an impressive job in walking the cliche strewn minefield of US TV, carving out its own identity. There are missteps here, with a couple of the episodes adding nothing to the wider narrative arcs or the show’s mythology, but these are not detrimental to the overall experience.

The extras on the three disc set range from the always interesting episode commentaries, outtakes and (quite rightfully) deleted scenes to the two documentaries, which look at the evolution of the show’s second season and then a strange round table dining experience where the cast and Whedon reminisce on the show.

The highlight of the first documentary is the moment when news of the cancellation comes and how the cast and crew appeared to live under its constant threat. A few alternative storylines are revealed had the show lasted beyond its two seasons and while I didn’t see Dollhouse having the longevity of Buffy, or the sadly even shorter lived Firefly, it’s intriguing to see where some of the characters may have ended up.

Also bundled with the Blu-ray is a short comic called Epitaphs which tells the story of the moment when the outbreak took hold and the Dollhouse technology wreaks havoc. It’s a nice touch, bridging the gap between the series and Epitaphs One and Two nicely.

With all these actors from Whedon’s past joining him in this season it may be that it is Whedon’s last on the small screen. With The Avengers in his future and the various television deaths suffered by a thousand cancellations it may be that the doors closing on the Dollhouse signal the last time Whedon channels his considerable creative energies to the small screen. While Dollhouse isn’t close to being his finest work, it is a gem to be discovered, and the Blu-ray and DVD set is the perfect way to indulge yourself.

Dollhouse Season Two is out on Blu-ray and DVD today.

Further updates on the Fox/Matthew Vaughn helmed X-Men: First Class project again today. According to Entertainment Weekly’s Hollywood Insider team, teen heart-throb Lucas Till has been added to the already swelling cast list for Matthew Vaughn’s X-Men: First Class. The details have the Hannah Montana: The Movie negotiating to play the role of Havok, otherwise known as Scott  “Cyclops” Summers’ younger brother Alex.

The news follows the three updates we brought you yesterday that Aaron Johnson was rumoured to have signed on as Cyclops, alongside Nicholas Hoult as Beast and Caleb Landry Jones as Banshee. EW are claiming that the announcements may well me intentional misdirection, which I may be inclined to believe considering that Banshee and Havok played no part in the original X-Men: First Class comic run. But then, with the way comic book adaptations traditionally recut plot-lines and character arcs, you never can tell can how true to the originals the adap will be in the end.

If anyone is failing to keep up, so far the rumoured cast list looks a little like this (though there is a question mark over Aaraon Johnson, who EW categorically state will not be in the film):

• James McAvoy- Charles Xavier AKA Professor X
• Nicholas Hoult- Dr. Henry Philip “Hank” McCoy AKA Beast
• Michael Fassbender- Eric Lensherr AKA Magneto
• Aaron Johnson- Scott Summers AKA Cyclops
• Caleb Landry Jones- Sean Cassidy AKA Banshee.
• Lucas Till- Alex Summers AKA Havok

Additionally, Alice Eve is rumoured to be in talks to play Emma Frost (AKA White Queen though only way back when she was a villain). Fox still haven’t confirmed any of the casting of course, as they continue to keep their cards close to their chest, but noone is really doubting that the stories coming out are anything but true.

So, with the cast really beginning to take shape it looks like Vaughn is putting together a team of new and up-and-coming talents from both sides of the Atlantic, with a lean toward actors from our own fair British Isles. You can’t really argue with the decision to cast Johnson, with the Kick-Ass link, but McAvoy as Xavier and Hoult as Beast have hit me very unexpectedly, given my familiarity with the X-Men universe and how I have come to imagine those characters in my head. Still, the success of the project was always going to rely on Vaughn offering convincing new takes on characters that audiences have already come to be familiar with on-screen thanks to the existing four films in the franchise, so a wildly different look may help the cause.

Personally, the pick of the casting so far is Michael Fassbender as Magneto. The guy can seriously act, has incredible range and proved in Inglorious Basterds that he has the on-screen charisma that will translate perfectly to bring Magneto’s charming malevolence to the big screen.

Filming on First Class will start this summer in London, with the release date set to land around next June.

This week sees the release of Fantastic Mr. Fox in the US, an adaptation of the classic Roald Dahl children’s story. Wes Anderson directs. Best known for adult themed, quirky comedy dramas, there is a question over whether he has been able to craft a movie with his unique style of humour that also appeals to a younger audience.

Whilst past Dahl adaptations like Matilda and James and the Giant Peach have been firmly aimed at children, it has been proved that his stories can be made to appeal to both young and old. The brilliant Gene Wilder stars, as we look at 1971′s Willy Wonka and the Chocolate Factory.

Willy Wonka opens with Charlie Bucket (Peter Ostrum). The youngest member of a truly working-class family, Charlie lives with his hard-working mother, and two sets of bedridden grandparents. The definition of paupers, they all struggle to exist on little more than cabbage water, with a simple loaf of bread considered a luxury item. Big hearted Charlie works a paper route after school, to contribute what little he can towards his families meagre existence. It’s an ordinary day at school for Charlie when word comes in that Mr Willy Wonka is opening the doors of his factory for one day only. The world famous chocolatier has been a recluse for many years, since a fallout with now rival Slugworth. No-one ever goes in or out of Wonka’s factory, and it’s a mystery how he manages to produce vast volumes of wonderful chocolate.

The whole world goes Wonka mad, as literally millions of bars of chocolate are bought up, everyone hoping to find one of just five lucky golden tickets that entitles the bearer entry to a confectionary paradise. Charlie is no exception, and dares to dream that he has a chance as good as anyone’s, despite not being able to afford more than a couple of bars of Wonka’s favourites. Four lucky children find tickets, could Charlie possibly be number five?

Willy Wonka is almost a game of two halves. Charlie’s under privileged existence, and his dreams of sampling just some of the luxuries others around him take for granted, is heart wrenching. His love for his family, and particularly his Grandpa Joe (Jack Albertson) are touching. Charlie inevitably finds his ticket, and the scene where Grandpa Joe staggers out of bed for the first time is genuinely moving, his song ‘I’ve got a golden ticket’ beautiful, despite his lack of a good singing voice. The first thirty minutes of Willy Wonka, the story of a poor hard working young boy achieving his greatest wish, are almost Dickensian.

Then Gene Wilder turns up, and the story is turned on it’s head. What starts off as a story of childhood innocence becomes a cutting look at what is wrong with the ‘youth of today’. Gene Wilder’s song, and the beautifully realised confectionary garden replete with chocolate waterfall are awe inspiring, a children’s fantasy land brought to splendid technicolor life. But despite the brightly coloured scenery, the tale takes a decidedly dark turn. Augustus Gloop’s gluttony, Violet Beauregarde’s passion for gum are their downfall, the greedy and spoilt Veruca Salt and square eyed Mike Teevee also get their just desserts.

Firmly a product of a more innocent time, Willy Wonka is none the less still relevant for our time. Ok, so the idea of the world coming to a stand still for a glorified Cadbury’s World tour is a little out of touch. And the wonderment of seeing people with brightly coloured hair and orange faces is now a mundane experience to anyone who frequents Essex nightclubs. But the concerns over greedy, overweight ASBO teens, obnoxious, addicted to TV are more pressing now than ever. Slugworth’s attempts at industrial espionage are an everyday occurrence in corporate America and Britain. And the idea of promotional chocolate wrappers was ahead of it’s time, today products of all kinds are subject to this style of marketing.

There are some good performances here. Peter Ostrum as Charlie Bucket is almost TOO sickly sweet, and most of the children and parents are passable. But Jack Albertson as Grandpa Joe is wonderfully confident and understated. And the stand out performances by Gregg Kinnear and particularly Julie Dawn Cole as father and daughter Salts far outshine the other members of the tour party. But Gene Wilder owns the screen from his first appearance to the end. Known for great adult comedy roles, it’s perhaps ironic that his greatest performance came as a character in a children’s story.

A touching children’s story with wonderfully written songs, and a darkly comic undertone make Willy Wonka an amazing movie, with much for all ages to enjoy. If Anderson’s Mr. Fox turns out half as good as this, it’ll be well worth watching.

Fantastic Mr. Fox is on general release in the UK now, and opens in the US this Friday 13th November.

Bazmann

It’s a shame, though not a surprise to learn from The Hollywood Reporter (via /Film) that Joss Whedon’s mix and match personality drama Dollhouse has been canceled by Fox.

The Interweb is currently massing its forces and there’ll be the Whedonites screaming blue murder at Fox for pulling a Firefly, but if truth be told the series didn’t measure up to the potential or the promise shown in a few stunning episodes adrift in a sea of Fox-neutered fare.

That’s not to say that the series didn’t have its moments, and as I wrote in my review of the first season it was only on a second viewing that the subtleties were evident and though it seemed always to be walking under a Fox shaped Damoclean sword some of the episodes were riveting, with glimpses, if not spotlights, of Whedon’s best.

Early news from the production did not augur well, with a pilot episode rejected and reshot and the news that Fox picked the series up for a second season was a surprise to many. Coupled with the fact that the best episode of the series wasn’t even aired on TV in the US, the DVD-exclusive ‘lost’ episode Epitaph One was a beautiful shock to the system, and was a master stroke by Joss Whedon.

Posting over at Whedonesque the puppet master of the Dollhouse had his to say:

Hmm. Apparently my news is not news.

I don’t have a lot to say. I’m extremely proud of the people I’ve worked with: my star, my staff, my cast, my crew. I feel the show is getting better pretty much every week, and I think you’ll agree in the coming months. I’m grateful that we got to put it on, and then come back and put it on again.

I’m off to pursue internet ventures/binge drinking. Possibly that relaxation thing I’ve read so much about. By the time the last episode airs, you’ll know what my next project is. But for now there’s a lot of work still to be done, and disappointment to bear.

Thank you all for your support, your patience, your excellent adverts. See you again. -j.

Perhaps this means the Dr Horrible sequel that’s being bandied around? Whatever happens I’ll miss Dollhouse a little, and the love for the show which held the cast and crew together was tangible. So, no mourning for Dollhouse, Fox will honour their agreement and air all the episodes of the second season and I’m more interested in what Joss has plans for next.

Here’s to Epitaph Two.

Some crazy news coming to us from Latinoreview.com that there just might be a sequel to the mega blockbuster Independence Day.

The guys at Latino Review have an interview with Roland Emmerich highlighting the possibilities of a sequel and Emmerich is quoted as saying there is a story and a script that they have taken to FOX and Will Smith is in but FOX are stalling as they can’t work out a deal to incorporate all the big names of Smith, Dean Devlin and Emmerich.

Interesting news then as the original was the film released way back in 1996 that i remember being one of the biggest Summer films of all time and the biggest, most jaw dropping special FX i had ever seen, shame the films second half was pants when it stepped away from something that could have been very very dark.

With the likely success of 2012 about to hit our cinemas and with Emmerich likely to want to destroy Earth in another FX ridden way I’m sure FOX will start opening it’s cheque book soon and writing a blank one to get a sequel on the move.

So a sequel without Will Smith? could it be done? i personally think they should go without Will Smith as there isn’t anything they could add to the story of the original as everything is destroyed and there wouldn’t be anything cool for the aliens to blow up second time round! unless they wanted to go to the aliens home planet to get revenge but we were millions of years behind in technology so we would be destroyed with ease.

What do you guys think? will it happen or is this just another wish list film?