It seems the popularity of vampires would be winding down with the over-saturation of the market, but Hollywood is moving away from your modern vampire, as seen in Twilight, True Blood, and The Vampire Diaries, and seems to be looking toward the past to keep the craze going. There has been a sudden explosion of projects based on the classic vampire, Dracula. Names ranging from Adam Sandler to Park Chan-Wook are involved in some kind of story about the classical bloodsucker.

According to Deadline, Sony has purchased a pitch from writer Jason Keller that will tell Dracula’s origin story, with Joe Roth and Palak Patel set to produce. Sony would only admit that they intend to start a period franchise, and with Keller credited for the upcoming Snow White re-imagining Mirror Mirror, that might put two franchises on his plate.

The original Twilight Zone is one of those classic shows that will always be considered as creepy and intellectual as it was back when it first aired. Several reincarnations of the series ended up falling flat to the episodes that Rod Sterling himself presented back in the early 1960s.

For many, the franchise was rejuvinated in 1983 when a series of directors collaborated together to put together a massive anthology film. Warner Bros. is hoping to jump start the franchise’s popularity once again with a new film, helmed by Cloverfield director Matt Reeves.

Here’s the catch: It won’t be an anthology. Deadline has the exclusive:

Let Me In and Cloverfield director Matt Reeves has been chosen by Warner Bros to direct The Twilight Zone, the Jason Rothenberg-scripted thriller based on the classic Rod Serling TV series. Negotiations will get underway early next week, but this is an assignment that was coveted by a number of top directors.

Matt Reeves got put on the map with Cloverfield, solidified his name in the world of horror with his American-ized version of Let The Right One In, titled Let Me In, and now he’s continuing in the trend which so many other great modern directors follow, which is remake a classic story.

This one is slightly different, however, as Matt Reeves is set to do a new version of a classic Ray Nelson short, 8 O’Clock in the Morning, which was the inspiration behind John Carpenter’s 80’s classic They Live. So not a traditional 80s remake, but still a new take on a classic tale. Deadline has the story.

The story is about a man who awakens one morning with the crystal-clear realization that we are surrounded daily by the presence of aliens that are controlling society. It was owned by the studio because it was used as the basis for the 1988 Carpenter film They Live. In that film, aliens were discovered through the use of special glasses. None of that is being used here, and the film is not considered a remake.

David Fincher’s The Social Network piqued the interest of audiences over the weekend and grossed over $23M, on just over 2,770 screens.  That is a full thousand fewer screens than big releases typically get.

The film was enthusiastically embraced by critics, receiving some of the best reviews of the year. According to Cinemascore, the film scored a solid B+ with audiences as well.  There is lots of Oscar talk swirling around this film, and it is unofficially considered a bookend to the upcoming award season. Look for this film to perform in theaters for several weeks.

There seems to be a bit of hand-wringing over the gross of the film, because many thought would make more money.  However, if you look at the per/screen average, the film did quite well, with over $8,300 per a showing.  That simply annihilates the per/screen totals of everything else in the top ten this week.

If the film had opened on more screens, it likely would have grossed more money.  Keep in mind that there are no big name stars in the film (save for Justin Timberlake, who is a co-star,) and David Fincher is still not a household name for mainstream America.

Legend of the Guardians: The Owls of Ga’Hoole maintained its number two spot from last weekend with  $10.8M, with a standard drop of about 32% over opening weekend. After two weeks in release, the film has made about $30M, which is still a long way from its estimated $80M budget.

Like everyone  else, I was  upset when I heard that they were going to remake the beloved Swedish vampire film Let The Right One In.

However, let it be said that this is one of the most beautiful, poignant, and moving films of the year.

Director Matt Reeves (Cloverfield) maintains the look and feel of the movie by bathing the frequent nighttime scenes in blue hones.  The crisp snowscape is now set in New Mexico, but the apartment courtyard where the two principals initially meet is nearly identical to the original.

Chronically bullied Owen (Kodi Smit-McGhee) notices a young girl and her father who have moved into his complex.  Over the course of several nights, he strikes up a friendship with the mysterious girl, bonding over a mutual love of puzzles and games.

She is guarded at first, but eventually warms up to Owen.  However, it is quickly apparent that she is no ordinary child.  She walks barefoot in the snow, by choice.  She shuns the daytime hours, and her relationship with her “father” appears a bit more sinister as time goes by.