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  November 20, 2009 
 
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Review: TERMINATOR SALVATION
Matt can't find the humanity in this war against the machines
You'll Get Your First Look at James Cameron's AVATAR in Front of TRANSFORMERS: REVENGE OF THE FALLEN
But I have my doubts...
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CBS Announces 2009-2010 Primetime Schedule
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New Trailer: 9
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TWILIGHT NEW MOON Teaser Movie Poster
Bella, Edward and Jacob…
 
ENTERTAINMENT NEWS
Gore Verbinski Gets a CLUE
2/24/2009
Posted by
Nicole
     
 
Written by Nicole Pedersen
 

Universal is certainly not taking their deal with Hasbro lightly.  After Paramount generated a billion or so dollars by turning the toy giant’s “Transformers” into a movie awhile back (they may even be working on a sequel but I’d have to get back to you on that) Universal has spared no effort towards securing top talent to turn Hasbro’s board games into major motion pictures. 

 

Here’s what I’m talking about: Ridley Scott is directing “Monopoly” (turns out that Hasbro owns Parker Brothers), Michael Bay is producing a version of the ‘spiritual’ game “Ouija Board” with “a high level writer attached” and Etan Cohen, fresh from writing “Tropic Thunder”, is scripting a “Candyland” feature for “Enchanted” director Kevin Lima.  The studio could have just gone with Shawn Levy or one of his AD’s on any of these but no - these are beloved games and Universal is looking to do it right.

 

Enter the latest news to hit the board.  According to Variety Gore Verbinski has agreed to adapt “Clue”.  That’s right – Colonel Mustard in the Conservatory with a lead pipe “Clue”.  Verbinski will direct and produce the live-action mystery which, in case you were unaware, has actually been to the big screen once before. 

 

The tale of the first “Clue” movie is a long and convoluted one.  Suffice to say that it didn’t end well.  In fact, it didn’t end well multiple times as the production actually filmed four possible endings to attempt to conform to the game’s mystery format.  Verbinski’s “Clue” already has a leg up on its predecessor, however.  It has a director who knows how to take a crassly commercial concept (there’s nothing more crassly commercial than a ride at Disneyland) and turn it into something sublime.


 
     
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