The Dark Knight Rises finally arrives this weekend, and curiously, amid the hype attending Christopher Nolan and his top-flight cast, two other performers have been strongly covered in the media: The behemoth tank that is The Tumbler, and the exciting off-shoot vehicle known as The Batpod. Considering the latter is one of the most arresting two-wheelers ever featured on-screen, we celebrate its revival by highlighting nine other curiosities Hollywood has offered up in the motorcycle category.
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"I've made some bad movies, but some of those bad movies have been other people's dreams, so it would be sort of inelegant to tread on all that. I've made movies because I've thought, 'God, I really want my kids to have a house in the country.' It's depressing, not being in charge of one's destiny. So what you have the power to do as an actor is the power to say 'no'. You don't have the power to say 'yes'." And: "I think it might mean no more action films! I mean, I love action movies, I love all sorts of movies, but there are just too many of the fuckers and too few movies for grownups." [The Guardian via MovieCityNews]
Three years after he shot to fame by terrorizing Kristen Stewart and Robert Pattinson in Twilight, Cam Gigandet finds himself once again in a vampire flick -- only this time the bloodsuckers are really nasty, and Gigandet is one of the good guys. As a young sheriff in the upcoming Priest, Gigandet plays foil to Paul Bettany's Jedi-like warrior, both searching for a missing girl in the vampire-infested wasteland. Gigandet met with Movieline to discuss Priest and more after he and his fellow filmmakers debuted first look 3-D footage from the film at WonderCon.
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If Screen Gems' upcoming post-apocalyptic thriller Priest feels a bit familiar to you, there's a reason: the film reunites star Paul Bettany with director Scott Stewart, with whom he made last year's avenging-angel apocalypse pic Legion. Produced on a relatively modest budget, Legion made $67 million worldwide but fared poorly with critics and, Bettany admits, suffered from its limitations. With Priest, however, he and Stewart aim to surpass their own benchmark and give audiences something that they haven't seen before: a 3-D post-conversion job worth the price of admission.
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