the industry

Michael Bay Is Now Pillaging Our ‘Nightmares’

Getty Images, Courtesy of New Line Cinema

The Other Gloved One Returns: Not content with pointlessly remaking The Birds, The Texas Chainsaw Massacre, and Friday the 13th, Michael Bay’s grave-robbing Platinum Dunes now turns its relentless remake rampage on a franchise where it actually matters who’s playing the killer by launching a new franchise based on Wes Craven’s 1984 A Nightmare on Elm Street. Variety seems to suggest that Robert Englund will not return as Freddy Krueger. Boy, they’ll regret that decision when they wake up dead. [Variety]

Moore Says “Gimme Shelter”: Julianne Moore will star in Nala Films’ horror feature Shelter, under the direction of Swedish duo Mans Marlind and Bjorn Stein. Plot is under wraps, but if Moore’s in it, it can’t be all — oh, wait — Next. Never mind. [Variety]

Least Edgy Music Item Ever: The long-missing Simon & Garfunkel album Live 1969, pieced together from unreleased recordings from the legendary duo’s November 1969 tour, will now be released this March as a Starbucks exclusive until a general release in the fall. Finally, a release strategy as daring as the content! Take that, Radiohead! [Billboard]

Unknown Actor to Wear Mask in Film: IESB is your one-stop shop for G.I. Joe casting news today, as the site reports that little-known (but very handsome) Brit actor David Murray (“Jumpy Thug” in Batman Begins) will don the silver mask as villain Destro, alongside recent cast additions Dennis Quaid (as hero Hawk) and Arnold Vosloo (as villain Zartan). [IESB]

Larsen Buys a Ha’Penny Bridge: Rent and Xanadu veteran Anika Larsen will star in Alastair McGuckian and Donna Feore’s new Irish musical, Ha’Penny Bridge, set for premiere runs in Toronto and San Francisco, with an eventual eye on Broadway. Larsen will play “a beautiful yet principled young woman” named Molly who is appalled by the senselessness of violence in twenties Ireland, meaning there’s no way she lives through the show. [Playbill]

Michael Bay Is Now Pillaging Our ‘Nightmares’