I know, I know -- "sequelized" isn't a word, but it's the most fitting label I can come up with. Ever since 300 hit theaters in March 2007, there has been talk of creating some kind of spin off. Would it be a prequel? Would it be a sequel? Would it be some demented fever dream invented by one Cinematical blogger on a late Colorado night?

Well, someone finally asked a 300 alumni other than poor Gerard Butler. IESB.net caught up with director Zack Snyder, who revealed that 300 would receive the sequel treatment. Snyder did the impossible, and actually spoke to Frank Miller about it, and learned he's writing a graphic novel that takes place between Thermopylae and the Battle of Plataea which is seen at the end of the film. There's a mere year in between waiting to be populated with new Spartan heroes (though David Wenham's lone survivor, Dilios, could return) by way of Miller's pen. Snyder promises to direct the adaptation when Miller finishes the book.

There's certainly historical material to draw from -- the time between Thermopylae and Plataea was marked by several battles -- the naval Battle of Artemisium, which occurred alongside Thermopylae, and the Battle of Salamis. Both were victories for the Greek states (although Artemisium could be argued to be a draw), but not without cost. Several Greek cities, including Athens, suffered severe Persian attacks.

But while the Greco-Persian Wars are ripe for many stories and movies, I don't see any of them fitting the hyper-stylized mold of the original graphic novel or the film. The insanity of it all worked because it had a legendary story and king to anchor it down, and shine through the blood-splatters and giant rhinos. Why water that down? As fond as I am of Snyder, Miller and violent boys in leather pants, I wish they would just let the Spartans lie.

Gerard Butler may have once sported the greatest eight-pack in the history of mankind, but his punishment for it (besides all the puking and crying I assume happened in the shaping of it) will be to answer questions about a 300 spin-off until the end of his career.

While at the Toronto Film Festival, where many of my lucky colleagues are, Butler was asked again about the franchise potential of 299 dead Spartans by Superhero Hype. "I've heard some backroom chatter, but nothing more, so I don't know if it would be a sequel or a prequel. I don't want say anymore than that, because I really don't know. I haven't read anything. I can't see it myself -- sequel for me absolutely not, but I just mean the idea generally, I'm really not sure which way they would go with that."

He was asked this same question at RocknRolla's ComicCon junket, and his answer then suggested he'd actually been approached with a more solid idea. "No. They mentioned it, and we'll leave it at that. It's a very interesting idea, I have to say."

By "interesting" idea, I keep imagining that the story involves King Leonidas being resurrected by a necromancer to fight an unspeakable evil. (That's actually going to be written into a spec, I just know it.) But honestly, it really must suck to be Butler sometimes. He's got his own production shingle, he's going to be directed by Frank Darabont any day now, and everyone just wants to know when Leonidas is going to be resurrected by a necromancer.

Why doesn't anyone direct the question to Frank Miller? He's supposed to be the one writing it.

(Thanks to MoviesOnline for their transcript of the RocknRolla junket -- I still curse my tape recorder.)

Earlier today, you saw the trailer for one of the most anticipated adaptations of all time (no, not that one, this one). And it was amazing. Well, I thought so, anyway, and I'm one of the few people who said "ehh" after reading the graphic novel. Anyway, some of you bigger fans probably watched the new Watchmen trailer over and over and over again, forward and backward, in slow-motion and sped-up to compare the film with the panels in the book. But did you notice the odd lack of continuity in the sequence shown above? Unless you read MTV Movies Blog, or unless you were looking really hard for something like last year's 300 trailer surprise, there's a good chance you missed it. Fortunately, for you, I've done my best to highlight the anomaly after the jump.

...and by SEs I mean big, fat, loaded mega-special editions of the studio's most popular stuff. And when WB delivers a Special Edition, they generally don't mess around. (Unlike some home video distributors *koff Universal* who throw the SE term around willy-nilly.) Just a quick scan through my mega-awesome DVD collection reveals WB SEs like Goodfellas, Dirty Harry, Amadeus, The Shawshank Redemption, Blade Runner, Superman, and a whole bunch more. If there's a catalog title you love, you should pray it gets the WB 2-disc SE treatment.

And a bunch more are on the way! According to Video Business, WB plans to double its SE output moving forward, and while we don't have any specs just yet, we do know that the following titles will be available (in fancy form) later this year: 300 (yes already, even though I thought the first 2-discer was pretty damn excellent), Casablanca (also again, but if any film deserves it...), A Christmas Story (cool!), JFK (a movie I need to see again), and I Am Legend. Come to think of it, all five of these movies already have Special Edition releases! These new discs better be pretty dang impressive.

Also on the way: The Peanuts Complete Holiday Collection. Which I definitely will own.

Last week, Collider spoke to producers Mark Canton, Gianni Nunnari, and Bernie Goldmann of 300, as well as director Zack Snyder, who all confirmed they were still hoping for a follow-up of some kind to 300. Today, Variety is reporting it as a done deal.

There are so many things wrong with this story that I just don't know where to begin. First, it wasn't cool of Variety to scoop Collider, and not credit them. But honestly, I can't believe the trades even ran this story. I mean no disrespect to Collider, as they ran it in the right context, but Variety is implying that this is on the verge of being filmed. Any 300 spin-off is entirely theoretical at this point, as it depends on a book that Frank Miller is only believed to be writing. No one even knows if he's jotted an outline down, let alone what it will be about. I watched Collider's interview with the aforementioned producers -- and with all due respect, when asked point blank if they had been in contact with Miller, they didn't answer. That doesn't confirm a solid project. I'm going to go out on a limb here, and suggest Miller hasn't given it a second thought since the movie came out.

Did you know the Saturn Awards were last night? I sure didn't! You'll remember the Saturn Awards as where William Shatner did his famous rendition of "Rocketman" back in 1978. The Academy of Science Fiction, Fantasy and Horror Films has given them out to the best in genre cinema for 34 years now, and this year's picks are ... kind of strange.

The prize for Best Fantasy Film went to Enchanted, which I think is silly in a category that also included Harry Potter and the Order of the Phoenix and Stardust, but okay. Then Sweeney Todd took Best Horror Film, which seems to me like a way to avoid giving an award to an actual horror film, like fellow competitors 30 Days of Night, 1408 and The Mist. I guess I can see why Sweeney Todd would be classified as "horror" -- a lot of throats get slit, after all -- but it's a stretch. Then the kicker: Cloverfield wins Best Science-Fiction Film, beating out, among others, Sunshine. The problem is that not only is Cloverfield not a science-fiction film, it's in some ways the opposite of a science-fiction film. Science-fiction entails some sort of larger cosmic context for the fantastic goings-on, which is precisely what Cloverfield refuses to provide. It's a monster movie in its purest form -- horror, not sci-fi.

Yes, yes, I'm still in Austin. I'm like that annoying loser who refuses to leave the party even though your girlfriend is clearly vacuuming and it's slowly getting sunny outside. (I actually stayed a few days longer so I could visit with some good friends, if you must know!) Anyway, it just dawned on me that even though we've brought you tons of SXSW coverage, you're still missing out on one very important component: The intro shorts! Every festival has 'em. They're brief mini-flicks that introduce the festival, credit the sponsors, and basically set the tone for the screening. (Sometimes.)

SXSW has always had some good "intro shorts" (my favorite is an old, strange one with Jeff Goldblum), but this year they were particularly amusing. They were put together by Mike Mitchell, Kent Osborne, Dan Brown, and Charlie Sotelo (among others) -- and through the magical power of "embedding," you can enjoy them without visiting some grungy other website. We'll start with my favorite:


Obviously this is a spoof of good ol' Glengarry Glen Ross, but by the time the film festival was winding down, me and my movie-geek posse were quoting this short non-stop and chuckling like morons. ("Brass balls!" Ha!) Check out the rest of the promos right after the jump!

Directed and co-written by Roland Emmerich, who's previously given us Stargate, Independence Day, Godzilla and The Day After Tomorrow, 10,000 B.C. offers audiences the prospect of epic action on a canvas as broad as human history; what it delivers is another matter entirely. In an age where computer-generated effects make spectacle possible, and audiences reward blood-and-thunder films like Gladiator and 300 at the box office, greenlighting 10,000 B.C. must have seemed logical. I can imagine someone pitching the film, to paraphrase Team America: World Police, by saying "It's like 300 .... plus 9,700!"

But as Emmerich's films have always demonstrated, suggesting that spectacle can make up for weak storytelling is like suggesting that having a great haircut can make up for being born without a skeleton. And, so it is in 10,000 B.C., where a variety of off-the-rack plot points and generic heroic journeys are decorated with computer-generated baubles like wooly mammoths and saber-toothed tigers and massed mobs, shiny hollow Christmas ornaments hung on a bare, ruined tree. Emmerich co-wrote 10,000 B.C. with Harald Klosser and put an army of technicians to work on the movie, but the end result simply feels like threads and themes and moments borrowed from other films.