Bryan Fuller, the creative mastermind behind Wonderfalls, Pushing Daises and choice episodes of Heroes and Star Trek: Deep Space Nine, might very well have two new shows on the air next season. We already told you about his two new projects likely to hit screens this season.

Now we are getting word from EW that the already greenlit Hannibal series will have a cable-esque 13 episode season one:

Hannibal, which has received a 13-episode series order, features Lecter solving crimes with empathic FBI profiler Will Graham (Hugh Dancy). For the first time, viewers will spend quality time with Lecter while he’s at large and before the world knows his secrets, working side by side with a similarly brilliant man who is destined to catch him.

What we have is Alfred Hitchcock’s principle of suspense — show the audience the bomb under the table and let them sweat when it’s going to go boom. So the audience knows who Hannibal is so we don’t have to overplay his villainy. We get to subvert his legacy and give the audience twists and turns.

Sounds mighty interesting. If Fuller and company can pull of this tight rope we might have a pretty great show on our hands. Fuller is certainly very capable, but this year will see him tackle two very well known properties. It will be interesting to see how he handles each one.

High above the East River in a cable tram, an international terrorist has taken several U.N. delegates hostage and has declared war on New York City. Only one cop stands in the way of this madman’s insidious plot. This is the premise behind the action thriller Nighthawks (1981), which stars Sylvester Stallone, Billy Dee Williams, and in his American film debut Rutger Hauer as Wulfgar.

Sylvester Stallone stars as Detective Sergeant Deke DaSilva, a tough NY street cop who is about to be pitted against one of the world’s most deadly terrorists. The film opens up in NYC on New Years Eve as both DaSilva and his partner Sgt. Matt Fox (Williams), members of a street crime unit that targets scumbags and pickpockets, ring in the New Year after they arrest three men in a sting operation. DaSilva chases one of the muggers onto the platform of the 174^th street station in the Bronx, where he apprehends the man after he resists arrest.

On the very same day across the Atlantic Ocean in London, England, Heymar Wulfgar (Hauer) targets a department store in another terrorist bombing which is a statement against British Imperialism. He warns the press that he will strike again and that there is nothing anyone can do to stop him. Being so well known in Europe, and after the killing of a terrorist contact, Wulgar undergoes plastic surgery in order to clandestinely sneak across international borders and to continue his terrorist plots.

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If Oren Peli has made his mark in one place, it’s been the attention that he’s brought to the “found footage” subgenre of horror films. He has made Paramount’s Paranormal Activity a massive, billion dollar franchise. Now he’s taking on a different myth with the legend of the abandoned Chernobyl nuclear plant.

Here’s the synopsis.

“Chernobyl Diaries” is an original story from Oren Peli, who first terrified audiences with his groundbreaking thriller, “Paranormal Activity.” The film follows a group of six young tourists who, looking to go off the beaten path, hire an “extreme tour” guide.

Ignoring warnings, he takes them into the city of Pripyat, the former home to the workers of the Chernobyl nuclear reactor, but a deserted town since the disaster more than 25 years ago. After a brief exploration of the abandoned city, however, the group soon finds themselves stranded, only to discover that they are not alone…

The first trailer is now here, to give you the same chills that worked so well with Paranormal Activity. Check it out after the jump, and see it in theaters on May 25th.

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The casting has not come particularly quick or easy for the Spike Lee directed remake of the Korean thriller Oldboy.

Josh Brolin (No Country For Old Men, Men In Black III) locked in as the lead character quite early in the process but the quest for a villain so far has involved names ranging from Christian Bale to  Clive Owen, with even Colin Firth being in the mix. All have passed for various reasons and the search continues.

Filling the role of Brolin’s love interest, Marie, has been an equally difficult task. Both Rooney Mara and Mia Wasikowska have been offered and rejected the part of the female lead role. It is now being reported that the role of Marie has been offered to Elizabeth Olsen.

The film follows an average man who is kidnapped and imprisoned in a shabby cell for 15 years without explanation. He then is released, equipped with money, a cellphone and expensive clothes. As he strives to explain his imprisonment and get his revenge, he soon finds out that his kidnapper has a greater plan for him and is set onto a path of pain and suffering in an attempt to uncover the motive of his mysterious tormentor.

The lesser known Olsen sister, Elizabeth seemingly sprang out of nowhere at Sundance 2011 to become one of America’s most sought after young actresses thanks to parts in the soon to be released Silent House and the under the radar film Martha Marcy May Marlene. With three other projects listed to start in 2013, she’s not going away anytime soon. She’s also got a sizable gap in her schedule before those projects are due to start, which makes this a very plausible option.

This week’s pick is the John Carpenter exploitation classic Assault on Precinct 13 that stars Austin Stoker, Darwin Joston, Laurie Zimmer, and Carpenter regular Charles Cyphers. Before Carpenter hit it big two years later in 1978 with the critically acclaimed financial blockbuster Halloween, his first commercial attempt came with Assault on Precinct 13.

Carpenter was a graduate of USC film school and had recently shot the now cult classic Dark Star which failed to give the young idealistic filmmaker the big break he was hoping for. Carpenter went looking for financial backers and found the CKK Corporation of Philadelphia, PA who gave Carpenter carte blanche to make whatever kind of film he wanted.

Carpenter hoped to make a Howard Hawks inspired western much like El Dorado or Rio Lobo. Due to funds in the range of only one hundred thousand dollars, Carpenter changed his mind and decided to make an action exploitation film instead.

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Texas Killing Fields is a strong, straightforward crime thriller which tells the story of three cops running the gauntlet in an attempt to solve two brutal crimes. But the film is particularly notable for its haunting tone and superlative acting.

Director Ami Canaan Mann does everything she can to give the movie an infectious gloom, an impressive imitation of the sprawling claustrophobia specific to Southern poverty. Mann, daughter of the legendary Michael Mann (who also co-produced the film), makes a lot of smart choices here, but none more crucial than the cast.

Jeffrey Dean Morgan and Sam Worthington bring their own unique intensity to their natural good cop/bad cop relationship, and a pre-Oscar nomination Jessica Chastain (The Help) brings a fiery quality to a supporting role. As usual, the 12-year-old Chloe Moretz shows remarkably advanced nuance for an actor her age.

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Catch .44 is the embodiment of style over substance.

The film looks great. Writer/director Aaron Harvey clearly has a good eye. If the budget is as low as he implies in the audio commentary, Harvey needs to marry his production designer and his cinematographer. A lot of the visual effects are a little clunky (think the fight sequences in Deadliest Warrior), but good for the budget (which bodes well for the future of indie film).

The acting is also very strong, which is not unexpected given a cast that includes veterans Bruce Willis, Brad Dourif, and Oscar winner Forest Whitaker. Most of the fun that can be squeezed from watching Catch .44 is seeing the actors play.

But the twisty crime thriller genre is all about story, and there just isn’t one here. Unlike The Usual Suspects and Reservoir Dogs, to which the marketing compares the film, Catch.44 doesn’t have any surprises, any secrets, or any tension. It’s mostly just people saying they are going to shoot each other and then, in fact, shooting each other.

The characters are poorly drawn and, with the possible exception of Whitaker’s confused psycho, unmemorable. Most have no arcs to speak of. The script doesn’t even keep you entertained with clever banter or intimidating tough-guy talk, another staple of the genre. The dialogue in Catch .44 is clumsy and lacking originality.

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This week’s Monday Pick is the 1979 action thriller Mad Max, a film that lunched one of the most lucrative franchises in film history. The Mad Max trilogy has spawned many imitations over the last thirty plus years, but they fail to add up to George Miller’s fantastic vision of the ultimate dystopian future.

Mel Gibson (who was virtually unknown at the time) stars as police pursuit man Max Rockatansky. He patrols the highways of the not too distant future Australia that is on the verge of complete anarchy and lawlessness. In the first installment of the series, Miller shows the audience that in this future, resources like food, water, and gasoline are becoming scarce and society is beginning to break down. The Main Force Patrol (MFP) is the uniformed highway safety enforcement whose main purpose is to stop marauding gangs who pose a threat to the society they are desperately trying to preserve.

The first ten minutes of Mad Max are filled with some of the most impressive and dangerous stunts ever performed in any film before or since. The MFP is in pursuit of an escaped convict who calls himself the Night Rider. Along with his girlfriend, the two take off in one of the force’s fastest V-8 pursuit vehicles and are successful in evading several pursuit units.

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It’s always nice to see someone like Edgar Allan Poe get some love in a cinematic era when caped crusaders and the living dead are the hot items. That’s why we like it when someone like John Cusack and James McTeigue is getting his whack at the classic poet/writer in what is being marketed as a true crime thriller.

That’s what we’re hearing about Relativity’s The Raven, which is set to hit March 9th of next year. Here’s an in-depth synopsis of what you can expect to see in the film.

When a mother and daughter are found brutally murdered in 19th century Baltimore, Detective Emmett Fields (Luke Evans) makes a startling discovery: the crime resembles a fictional murder described in gory detail in the local newspaper–part of a collection of stories penned by struggling writer and social pariah Edgar Allan Poe. But even as Poe is questioned by police, another grisly murder occurs, also inspired by a popular Poe story. Realizing a serial killer is on the loose using Poe’s writings as the backdrop for his bloody rampage, Fields enlists the author’s help in stopping the attacks. But when it appears someone close to Poe may become the murderer’s next victim, the stakes become even higher and the inventor of the detective story calls on his own powers of deduction to try to solve the case before it’s too late.

Take a look at the brand new trailer after the jump.

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This week’s pick is the classic 1982 Ted Kotcheff war/thriller First Blood a.k.a Rambo: First Blood (1982), the first installment in the legendary Rambo series. The film stars Sylvester Stallone (John Rambo), Brian Dennehy (Sheriff Will Teasle), and Richard Crenna (Col. Sam Trautman).

First Blood was based on David Morrell’s 1972 classic novel about a Vietnam veteran trying to adapt to civilian life after his horrific experiences during the war as a member of an elite special forces unit. Kotcheff’s film serves as a study into the psyche of veterans and shows the audience the harsh realities that were still facing many vets by the turn of the 1980s.

Stallone stars as John Rambo, a man haunted by his past who is back packing through the Pacific northwest of the United States in search of an old Army buddy, Delmare Berry. Rambo arrives at his friend’s home to discover that he had been dead for over a year due to cancer as a result of Agent Orange, a defoliant used by the U.S. military in Vietnam to spot the enemy from the air (this was an issue that was just now becoming known to the public). Realizing he is the last surviving member of his unit, Rambo once again hits the open road and wanders into the town of Hope, Washington.

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This week’s pick is the HBO film By Dawn’s Early Light (1990), directed by Jack Sholder. The film stars Martin Landau, Powers Boothe, Rebecca De Mornay, James Earl Jones, Darren McGavin, Rip Torn, Jeffery DeMunn, Peter MacNicol, and Nicolas Coster.

By Dawn’s Early Light was based on the novel Trinity’s Child that depicts a full nuclear exchange between the U.S. and USSR. The film is set in 1991 as the Soviet Union is undergoing radical political change (when the film was produced, the Soviet Union was in fact beginning to collapse).

A group of Soviet brass launches a nuclear strike with a stolen missile against the Soviet city of Donetsk. U.S. forces track the trajectory of the missile from allied Turkey. This act makes the Soviet Première and Soviet forces think it was a surprise attack from the U.S. and NATO forces.  The Soviets launch a retaliatory strike which threatens U.S. land based bombers and many key points of communication such as the NORAD facility, SAC headquarters in Omaha, Nebraska, Washington D.C., and Andrews AFB in Maryland which is where the president would be evacuated from.

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This week’s pick is the John McTiernan thriller The Hunt for Red October (1990). Sean Connery, Alec Baldwin, Scott Glenn, Sam Neill, and James Earl Jones star in this Cold War classic about a Soviet naval commander and a new invincible Soviet sub which threatens peace between the two super powers.

Set in early 1984 before Gorbachev came to power as the new Soviet premier, the new ballistic missile submarine Red October sets sail from port in the arctic and makes its way to the north Atlantic for a training exercise. Its captain, Marko Ramius (Connery) selects his officers and the crew for a daring mission that they believe will test the might of their old adversary, The United States navy.

The Red October is equipped with a new type of propulsion system, a caterpillar drive, which renders the sub virtually silent to sonar. This feature and its nuclear payload, represent a clear and present danger to U.S. policy in the north Atlantic at the height of Cold War tensions between both the U.S and Soviet Union.

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