Okay, so we went through something similar with Frank Darabont's unused draft of the latest Indiana Jones installment, which managed to be a bit better (read: Mutt-less) compared to the still entertaining end result. Now, it appears that the original draft for Hancock -- long titled Tonight, He Comes -- has popped up by way of Jeff Wells over at Hollywood Elsewhere (read it here). Oh, and if it's authentic, it happens to be missing the next-to-last page.

I've found the behind-the-scenes hearsay -- conveniently summed up in this NY Times piece -- on this film to be fairly fascinating. First, as scripted by Vy Vincent Ngo, Tonight had made the rounds as a reportedly hard-R superhero drama that capitalized on the somewhat sexual nature of the title. However, it seems once Will Smith was brought on board, Sony saw fit to tame things down considerably.

Even as recently as April, the MPAA had twice handed them an R instead of the sought-after PG-13, and now the finished result runs a choppy 92 minutes -- distinctly shorter than indicated in AICN test screening reports which made particular mention of a subplot involving statutory rape. Of course, as Wells brings up, it's hard to ignore the involvement of producer/screenwriter Akiva Goldsman, whose recent work on Smith's last hit, I Am Legend, had a similarly slapdash second half at the compromise of the original material.

I've yet to get more than a couple of pages into this thing, but do you guys think this is the real deal, and if so, do you guys think that this is the real film compared to what's on thousands of screens this week?

Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.

When films turn personal, there are a myriad of ways they can turn out. One way I never thought of -- out of body experiences that need soul saving. Variety reports that Val Kilmer, Shane West, Cam Gigandet, Eric Balfour, and Arielle Kebbel have signed on for a film called Silver Cord. James Ordonez will direct the feature, which he wrote with Ken Gord, and relive some personal experiences.

As Variety describes it, the film "centers on Ordonez's brother who came back to life after being declared clinically dead on multiple occasions. The brother died in 2004." But the summary up on IMDb says a whole lot more, written by James himself: "The story of a young man who is separated from the love of his life. To find her he has an Out of Body Experience but the silver cord that connects his soul with his body breaks and he is believed to be dead. In a desperate race against time his friends have less than 24 hours to save his soul before his body is cremated."

It's not every day you get so-called true life stories about people leaving their body to find paramours and then losing their body and being declared dead. Since he'd been declared dead a number of times, I guess the dude had a penchant for out-of-body travel.

Every day, another graphic novel is optioned by a studio great or small, and very rarely do they stir much interest in me. They always seem to be a variation on the assassin-with-a-heart-of-gold or superhero deconstruction, which can't even motivate me to pick up the graphic novel, let alone buy a movie ticket. So, it's a rare treat when the trades run the latest comic to be snatched up and I go "Okay -- this one I get." Hiding in Time is one of these.

According to Variety, Warner Bros has bought the rights to Christopher Long and Ryan Winn's series. Time is set in a future where the Witness Protection Program is no longer interested in changing your name and moving you to Tampa -- instead, they send you back in time to hide from those you snitched on. If hiding out in the Black Death to escape your mob buddies sounds too good to be true, it is, as a group of armed thugs begin hunting them down across the ages. It's up to one humble scientist in the Time Portal Division to stop them. (The trades mention that the scientist teams up with a master thief to track down his old crew -- I don't know if that's part of the movie pitch, or if that actually happens in the series.) No director has been named, but Beau Thorne is tackling the screenplay.

When is the news of an actor you really like joining the cast of a high-profile new movie bad news? When you wish that actor were doing other things with his time, that's when. In the case of Thomas McCarthy -- whom you may remember from his masterfully detestable performance as weaselly reporter Scott Templeton in the final season of The Wire -- I wish he were writing and directing another film as brilliant and deeply moving as The Visitor, which at this halfway point is my favorite movie of 2008. I'd even settle for something with the wry, quiet charm of his lovely 2003 debut The Station Agent.

Instead -- ::sigh:: -- he's gone and taken a supporting role in Roland Emmerich's disaster flick 2012, playing Amanda Peet's boyfriend. C'mon, Tom: anyone can do that. Only a handful of people have your behind-the-camera chops. Quit messing around.

I'm being mean, and in this Hollywood Reporter piece McCarthy makes a valiant effort at defending the choice in terms of how working with directors who make different kinds of films helps him with his own work. (The article also mentions that McCarthy moonlights as an uncredited studio script doctor, which I didn't know, and which makes perfect sense given the natural, effortless flow of the films he's written.) Okay fine. But direct something else please.

Sinister plans and prison releases are nothing new to the world of cinema. You've got everything from Snake Plissken having an explosive implanted within him so that he will save the President, to Leito getting led back to District 13 to help a cop defuse a bomb. But now we're getting an old story of corruption on the big screen. Variety reports that Leverage and producer Charlie Loventhal have teamed up to adapt Jim Thompson's 1953 novel Recoil, with Ralph Pezzullo writing the script.

The project will focus on a man named Pat Cosgrove. He's sent to prison for bank robbery, and is ineligible for parole because he doesn't have a sponsor. Then a dude named Doc Luther pops up, and offers him a job and sponsorship. But the job isn't all work and owage -- it's fishy generosity. He gets housing, cash, cars, and clothing, without having to do much, if any, work. Then, as Variety describes it, he's "set up for murder by the same corrupt political insiders who sponsored his parole." And people say it's rough on the inside...

This could be a fun flick, and it's definitely not the first Thompson text to hit the screen. It's just been a while. The last time his work hit the film world, it was for This World, Then the Fireworks in 1997, but the writer, who died back in 1977, was also the pen behind The Getaway, The Grifters, and After Dark, My Sweet.

There has been a lot of heated debate about that second Hobbit film. Many Lord of the Rings fans will take anything Middle-Earth, even if it's two hours cobbled out of appendices. Others see it as a betrayal of the Tolkien canon, and a blatant money grab by all involved. I readily admit I fall into the first category -- but I certainly don't want to see a bad film just to get a visual Middle Earth fix.

No matter what camp you fall into, however, Guillermo del Toro just made a statement that should please everyone. According to Defamer, he promises they are looking at adapting The Hobbit first and foremost -- and that a second film may not even happen. "We believe there is a second movie," del Toro said. "If there isn't, there will not be. If we find it, we will shoot it, but by God, if we do not find it, we will not shoot it. I am anxious to shoot the book, and I'm willing and able to dedicate myself to shooting the [second film]. In the four books that are in the domain of the copyright, there are appendices and ideas and things that can be traced without risk. But I have to be careful not to overstep. We believe there is a way to create this film and make it interesting, but it's too early."

A couple of people have been griping about Wall-E director Andrew Stanton's refusal to admit that his cute little movie about a robot in love actually contains some pretty upfront green politics, but there's a far more polarizing reference in the film than its harmless pro-environment agenda. It's no major plot spoiler to reveal that, about an hour or so into the story, Fred Willard appears in a recorded message as the mysterious president of Earth's corporate government and orders the ship's captain (Jeff Garlin) to "stay the course." Wait, we've heard this one before: It was the go-to statement used by the Bush administration for about three years or so when describing its modus operandi in Iraq (the term was abandoned when staying the course started to sound like a bad idea). In Wall-E, the context is quite different -- it's an order to not do something, rather than take action -- but hard to ignore nonetheless.

Certain critics with (surprise!) conservative slants have taken issue with this. At Dirty Harry's Place, John Nolte expresses his disappointment in the first paragraph of his review: "Have we lost the wonderful studio who brought us The Incredibles and Ratatouille to Bush Derangement Syndrome?" he asks. New York Post critic Kyle Smith picked up the rant and decided to write his own, even though he hadn't seen the film yet: "This kind of crack, lame as it is, also breaks the spell of the movie by hurling you out of the theater and back into reality."

Friends with successful pens... What they write can be the ultimate compliment, especially if you get to have a hand in the story's creation, or an all-too revealing surprise riddled with personal information (like, say, Diary of a Sex Addict). Luckily, for Iain McConnell, it's the former; The Hollywood Reporter has posted that McConnell and his cousin, Jason Filardi, will be penning the story of his Korean wedding for Lionsgate.

Of course, "McConnell" isn't a Korean name, and this is where the Meet the Parents bit comes in. Iain was teaching English as a second language when he fell in love with a Korean woman. He proposed, and she said yes, but she had a catch: "Her Korean family must approve and they must have a traditional wedding in Korea." So, the guy packs up himself and his family and heads to Korea to make that happen. (If you're wondering what the wedding would be like, check out the pic at the right, and maybe watch Lane's wedding on Gilmore Girls.)

Filardi previously penned Bringing Down the House, which isn't the best flick out there, but he's also got Seventeen Again and the upcoming Topper remake on the way. So, this could be cute. But hopefully it won't be quite as painful to watch as Ben Stiller's version. That one's funny, but man, it pains me.

Just so we are clear, the new script by Wanted writers, Michael Brandt and Derek Haas, will have nothing to do with James Harriot's novel, All Creatures Great and Small -- although it does make a little confusing since they have the same title. The Hollywood Reporter announced that the duo have signed to complete a script for Sony and Original Films producer, Neil Moritz. According to Brandt, he and Haas came up with the idea after securing a blind deal with Sony, and Creatures was the first project they wanted to pitch to the studio.

Creatures centers on a future where humans are vastly outnumbered by animals. Brandt describes a pretty bleak future for us bipeds in the script: "... where people are literally living in forts, and the animals are running free."