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Hooray! The Black Hood finally died on Riverdale... we think.

Betty (Lili Reinhart) and Archie (Kj Apa) went chasing down another lead on the Black Hood only to find themselves back at Joseph Conrad -- the only surviving member of the Conrad family massacre that occurred decades ago in Riverdale.

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In Joseph Conrad's cynical, politically influenced work Under Western Eyes, the author takes steps in describing themes of terrorism, the degradation of character, and the suffering experienced by ordinary people caught in the wave of political influence. Mr. Conrad makes a poignant statement describing how two factions of society lived in pre-Revolutionary Russia when it is stated, "only that a belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness."

It's within this nature of humanity that writer/director Trey Edward Shults positions his new film It Comes At Night; within the turmoil that humanity faces with the unknown, within the natural distrust that exists deep in the souls of humans, within the emotions that motivate choices to act without compassion. In the same way the genre of horror effectively plants its most troublesome and terrifying roots with these same elements,...

An in depth look at how the Alien franchise uses its ship names to add another layer of meaning to the action that takes place on screen. The ship names also echo the many themes and ideas, linking all of the films together.

Joseph Conrad was born in 1857 in the Ukraine. At the age of 16 he left his home and travelled to Marseilles, France to become a mariner. He spent the next 23 years of his life at sea, and it would be these experiences and adventures that would later inspire him to write. Conrad’s writings would go on to gain great notoriety by the turn of the century. He managed to explore the relationship between man and the world around him, not through traditional adventure, but via a haunting portrayal of greed and corruption. In a time when the glory of imperialism was quickly coming to an end, Conrad...

Returning with another diverse, auteur heavy line-up with their 66th edition, the Berlin International Film Festival continues to impress just as much with selections available outside of the titles competing for the coveted Golden Bear (including the festival’s second edition of a Critics’ Week, where the latest titles from Andrzej Zulawski and Philippe Grandrieux are playing). New items from Bence Fliegauf, Eugene Green, Anna Muylaert, Kiyoshi Kurosawa and Doris Dorrie are also significant highlights, but here’s a glance at my top five most anticipated.

#5. An Outpost of Progress – Dir. Hugo Vieira da Silva

Portuguese director Hugo Vieira da Silva returns with this adaptation of a Joseph Conrad story (the author considered this his best work), a tale of two colonial officials in a remote ivory trading post on the Congo. Conrad remains a difficult author to translate to the screen (some great exceptions from Coppola, Patrice Chereau, and...

To Go On Two Legs: Gregory’s Fascinating Recapitulation of a Cinematic Train Wreck

Documentarian David Gregory graduates from an extensive history of shorts with his first feature length achievement, the verbosely titled Lost Soul: The Doomed Journey of Richard Stanley’s The Island of Dr. Moreau. However, the title is something of a misnomer, much like another recent examination of a project that never came to fruition with its originating director, Jodorowsky’s Dune. Stanley, who had gained a successful cult following in the early 90s for Hardware (1990) and the Miramax distributed Dust Devil (1992), would engage in the sort of uphill production battle that rivalled historical studio horror stories. Weather, nervous producers, pampered diva personalities, and ultimately, Stanley’s own limitations in reigning in such aggressive setbacks would result in his being fired from the set. However, the strangeness doesn’t stop there. Gregory manages to convey the extremity of a much maligned production,...

The BBC has announced its upcoming new drama series for 2015.

Head of Drama Ben Stephenson revealed at an event last night (November 19) that several new dramas will be shown next year, along with the previously announced SS-gb, The Dresser, Undercover, and the return of Top of the Lake and a new Luther miniseries.

One of Us will be a modern thriller set in the Scottish Highlands and Edinburgh, and is written by The Missing's Harry and Jack Williams.

The four-part series revolves around a double murder which shatters two families living next to each other, and focuses on the relatives as they grieve their losses and deal with the consequences.

The writers said: "We're excited to be telling a modern-day parable that explores big themes and ideas through the lens of a very personal, character-driven story".

Cuffs will be an eight-part cop drama from Julie Gearey (Prisoners' Wives), airing on BBC One.

Portuguese producer Paulo Branco is planning a film adaptation of Joseph Conrad's 1897 short story "An Outpost of Progress".

Drawing on Conrad's own experience in the Congo, it deals with two European men who are assigned to a trading post in a remote part of the African jungle.

As isolation demoralises the pair and diseases weaken them, the story ultimately ends in tragedy. Hugo Vieira Da Silva helms the film which will shoot in Angola, close to the location in which Conrad wrote the story.

Branco previously produced an adaptation of Conrad's "Almayer's Folly" in 2011.

Source: Screen...

Exclusive: Veteran producer to adapt Joseph Conrad’s novel.

Veteran Portuguese producer Paulo Branco is planning a big screen adaptation of Joseph Conrad’s An Outpost of Progress.

After backing an adaptation of Conrad’s Almayer’s Folly in 2011, made by Chantal Ackerman, Branco is now working on a film version of the novelist’s short story.

Written in 1897 and drawing on his own experience in the Congo, it deals with two European men who are assigned to a trading post in a remote part of the African jungle. But as isolation demoralises the pair and diseases weaken them, the story ultimately ends in tragedy.

The film will shoot in Angola, close to the location in which Conrad wrote the story, and will be directed by Hugo Vieira Da Silva. The cast is led by Nuno Lopes. It will be made through Leopardo Filmes and Amour Fou Vienna as a Portuguese-Austrian coproduction.

Meanwhile, together...

Yager's "Heart of Darkness"-by-way-of-Dubai shooter "Spec Ops: The Line" and Ron Gilbert's quirky puzzle adventure game "The Cave" are part of the March lineup of free titles on Sony's subscription service.

A lot of words have been written about the relative merits of "Spec Ops" regarding its depth (or perceived lack therof) clashing with what some have described as the repetitiveness of the actual game Yager built around their "war is hell" tale. From Jason's review:

It only takes a little bit of time with The Line for it to becomes pretty clear how heavily influenced it is by Joseph Conrad's (note the similar name) novel, Heart of Darkness (and the subsequent film Apocalypse Now). Sure, it's a different setting, but the desert of Dubai in The Line actually offers some new gameplay twists that the rainforests of Conrad's story couldn't, and besides, gamers have countless games set in jungles.

Ewan McGregor produces a sledgehammer performance as a father floundering in the aftermath of the 2004 tsunami in an intelligent drama by the makers of The Orphanage

Despair, pain, panic and hope fight for supremacy in this outstandingly made and heartwrenching film, based on the true-life story of a Spanish family who went on a Christmas holiday in Thailand in 2004 and were caught up in the tsunami that hit south-east Asia, killing 230,000 people. With simplicity and conviction, it manages to be something other than a conventional disaster movie. The tsunami sequence itself is a masterly piece of film-making – and as for what follows, I have to admit to being blindsided by its real emotional power. This film is of course vulnerable to charges of manipulation, and of magnifying the western-tourist experience at the expense of the indigenous communities who lost everything. But in the end I found honesty and compassion in The Impossible.

There's a disturbing trend amongst shooter games of late, to make games more and more realistic to really drive home the harsh realities of war (or up the shock value). Games like Modern Warfare 2 and Soldier of Fortune have pushed the limits of what developers can get away with when by putting players in control of scenarios like killing civilians, or portraying gory deaths. For some, it may be too much to stomach, but for others it helps to virtually drive home just what real soldiers have to deal with on the battlefield. 2K Games' latest release, Spec Ops: The Line, can now be added to the list of games that attempt to bring to life how taxing battle can be on the human body, and, more importantly, the human psyche.

Set in a sandstorm-ravaged Dubai, three Delta Squad operatives, led by Captain Martin Walker, are sent in to investigate...

Ridley Scott's sci-fi classic Alien is a hard act to follow, so he's made a gut-wrenching prequel instead

In 1977 Ridley Scott was one of the directors of TV commercials whom David Puttnam plucked from the small screen to make their feature debuts in the cinema. Based on a novella by Joseph Conrad, Scott's first film was The Duellists, a costume drama about the obsessive rivalry between two cavalry officers in the Napoleonic wars. It was elegantly staged and respectfully received. It was, however, his second film, Alien, two years later that made him a director of world stature. This seminal science-fiction movie was in effect a transposition to outer space of a Conrad novel about a run-down tramp steamer picking up a lethally dangerous passenger from a remote island. Out there among the stars, where no one can hear you scream, as the advertising tagline put it, it becomes...

Anyone who suffered through a high school English class knows Joseph Conrad’s war tome Heart of Darkness. And anyone who has done the same in a Representations of Vietnam class in film school (i.e. me) has thoroughly analyzed Apocalypse Now, Francis Ford Coppola’s modern take on Conrad’s classic work. Both texts conveyed the horrors of war and man’s descent into barbarism, but I always felt as though they were missing something. Then I realized what it was – they weren’t set in outer space.

Three decades after Martin Sheen and Marlon Brando had it out in the jungle, a new reimagining on the story is in the works. Peter Cornwell (The Haunting in Connecticut) was originally slated to helm a science fiction version of the story as adapted by screenwriters Tony Gilgio and Branden R.Morgan, but Moviehole reported that Species director Roger Donaldson has potentially stepped in replace him.

(Carol Reed, 1951, Studio Canal, PG)

Carol Reed was acclaimed as an important new talent when Graham Greene, as film critic of the Spectator, reviewed his second film as a director, Midshipman Easy, in 1935. After the second world war they found fame, collaborating on The Fallen Idol and The Third Man. Reed thought they might scale new heights with a film of Joseph Conrad's 1896 novel An Outcast of the Islands. But Greene, in thrall since childhood to Conrad, had been trying to escape the Polish writer's influence and rejected Reed's invitation. A pity, because it might have been a revealing masterpiece.

Instead, it's an ambitious, deeply flawed picture, filmed on unromantically observed south- east Asian locations with a powerful performance by Trevor Howard as the self-destructive Willems and Ralph Richardson (a key exponent of Greene) providing a highly stylised portrait of the godlike Captain Lingard. A crucial film in an important,...

The Guardian art critic journeys deep into the heart of darkness with Tuymans's Gauguin-themed painting, displayed in A Room for London, the boat perched on the Queen Elizabeth Hall

Gallery: cast adrift in A Room for London

When did I last get butt-naked with a painting in the line of duty, I ask myself. There's just the two of us here: me, and a work by Luc Tuymans called, propitiously enough, Allo!

I'm off to bed. We're in my cabin on a boat called the Roi des Belges ("King of the Belgians"). Tuymans is Belgian too. To be honest, this is the only cabin. It's after midnight and the crew – let's call them "room service" – aren't about. The tide's up. Where's my cocoa?

I'm sailing through the night on the Roi de Belges, the riverboat shuddering and creaking on the roof of the Queen Elizabeth Hall on London's South Bank.

Mira Schor: Voice and Speech Marvelli Gallery Through April 28, 2012

From the Muses of Helicon, let us begin our singing, that haunt Helicon's great and lofty mountain, and dance on soft feet around the altar of the mighty son of Kronos. This from Hesiod's Theogony. "Night bore hateful Doom and dark Fate and Death, She bore Sleep, and she bore the Tribe of Dreams...."

"We live as we dream," wrote Joseph Conrad, "alone." Mira Schor's recent exhibition at Marvelli, Voice and Speech, makes a compelling argument against Conrad's existentialist notions with paintings that are interrogations of thinking, speaking, writing and, of course, the act of painting.

In this exhibition of recent paintings, Schor explores the concepts of "voice" and "speech" in contemporary politics and art theory, inspired by an idea put forward in Michel de Certeau's The Practice of Everyday Life. De Certeau's theme is that there exists a knowledge...

From Catherine Anyango's graphic novel adaptation

of Joseph Conrad's Heart of Darkness

"Heart of Darkness was meant to have been Orson Welles's first film," writes Tim Robey in the Telegraph, "a monumentally ambitious, technically innovative adaptation with which he hoped to shake up the industry. Hollywood took one look at it — and baulked. Written in the late Thirties, Welles's 174-page reimagining of Joseph Conrad's 1899 novella was considered too expensive, too challenging, and the theme of lust for power made the moguls uneasy. So he abandoned the project and embarked on Plan B, a little film called Citizen Kane." This afternoon, "a one-off production is being staged by the Turner Prize nominated artist Fiona Banner and live-streamed around the world from the most apt setting imaginable: a riverboat installation modelled on the Roi des Belges, the vessel Conrad captained on his journey up the Congo in 1890. Scottish actor...

The usual obsessing over the disaster has reached unfathomable depths for its 100th anniversary

Look at the BBC's Titanic scheduling and you can't help wondering if the corporation has done enough to own the great heritage disaster. True, it is working hard to prevent Julian Fellowes commandeering the wreck in its entirety, given the perfect fit between the horrifying mass drowning and his signature, vintage melodrama. In its offering Titanic with Len Goodman, for instance, BBC viewers will see the Strictly celebrity travel all over the shop, "to discover how the impact of the Titanic disaster is still felt today".

Principally, of course, the disaster is still felt today courtesy of James Cameron – his 1997 film updated for the anniversary in glorious 3D – and his rival, Julian Fellowes, who describes the sinking as "the perfect disaster in a very compact form". Almost too compact, in that it unfolded more quickly than his TV series.

The journey of an international documentary to the United States is an uncertain one. Make its subject a lesser-known foreign war and the post-traumatic effects thereof, and you’ve got what an American agent calls a “hard sell.” My Heart of Darkness, a brooding foray into four veterans’ pasts, has been traveling the international festival circuit since premiering at Idfa in 2010. The years between then and now, where it’s having its U.S. premiere at L.A.’s Pan African Film Festival (Paff), has been marked by all manner of revelations and misunderstandings—appropriate for a film about the reconciliation of four former enemies of the Angolan Civil War.

As its title suggests, My Heart of Darkness is a personalized take on Joseph Conrad’s novella Heart of Darkness. The documentary, directed by Staffan Julén and Marius Van Neikerk, applies the symbolic thrust of Conrad’s book to a meditation on war’s disgrace.

European Pressphoto Agency The wreck of the Costa Concordia on Sunday, when a 13th body was found.

There is only one sea story: I jumped. Sea stories are as fueled by jumps as romances are by misunderstandings: “I had jumped… it seems,” says Jim, chief mate on the Patna, the stricken ship in Joseph Conrad’s Lord Jim. There are seven lifeboats for the four-hundred on board: the Patna’s Captain and three of the crew agree to abandon ship while the passengers are asleep.

Joseph Conrad's Heart of Darkness has been reimagined as an opera for the first time. Tom Service meets its composer Tarik O'Regan

An opera adaptation of Joseph Conrad's Heart of Darkness? Amazingly, it's never been done before. But 33-year-old composer Tarik O'Regan's new chamber opera, the first stage work from this brilliant British composer, was inspired by the most famous adaptation of Conrad's remarkable novella. "I had always loved Coppola's film Apocalypse Now, and in 2001 realised the movie's relationship with the book," he says in a pub over the road from the Royal Opera House, where the work will be staged. A year later, in conversation with his friend and librettist, the artist, composer, and writer Tom Phillips, O'Regan's opera was born.

It's been a nearly decade-long journey from that initial spark of inspiration to the staging of Heart of Darkness at the Linbury Studio theatre at Covent Garden this week.

This summer, it was announced that helmer Peter Cornwell ( The Haunting in Connecticut ) is going to direct an adaptation of Joseph Conrad's novel "Heart of Darkness" and we now have more details and the concept art you see on the left. The best known adaptation of Conrad's book was Francis Ford Coppola's 1979 award-winning Apocalypse Now , which starred Marlon Brando and Martin Sheen. Cornwell's adaptation is currently in pre-production and has a script by Tony Giglio and Branden Morgan. The film is described as follows: Apocalypse 2388. Earth is on the brink of extinction. Legendary explorer Kurtz has been sent on a desperate last bid mission to scout an unknown planet on the far side of the universe. A planet that may sustain human life. But communication...

When discussing Almayer’s Folly, Chantal Akerman actively resists crediting the source material. Joseph Conrad’s first novel is set in Malaysia at the end of the 19th century and is a grotesque portrait of a young Dutch trader driven to madness by his own foolishness and avarice. A contemporary, sympathetic reading of the novel might commend it for its critique of the dehumanizing tendencies of colonialism, both on the colonized and the colonizer, but Akerman goes a few steps further. The film is less an adaptation than a loose, dream-like reimagining of its central conflict between a European man, his Asian wife, and their mixed-race daughter. Like Jean Rhys’s novel, Wide Sargasso Sea, which foregrounds the racist assumptions in Jane Eyre by giving life and a history to Charlotte Bronte’s exotic “madwoman in the attic,” Akerman rebalances the weight of Conrad’s narrative and in doing so finds—surprisingly,...

Second #1269, 21:09

We don’t know it yet, but the faint buzzing sound of static we hear at this point comes from the flickering red neon Elevator sign that Jeffrey—emerging from the far right side of the frame—will encounter in a few moments. Ian Watt—the great deconstructor of the barely visible codes of narrative fiction—once described the actions of a character named Kayerts in Joseph Conrad’s short story “The Outpost of Progress” and in doing so introduced the phrase “delayed decoding” to describe how Conrad sometimes placed readers in the position of his characters, for whom events unfolded more quickly than their minds could decode:

This narrative device may be termed delayed decoding, since it combines the forward temporal progression of the mind, as it receives messages from the outside world, with the much slower reflexive process of making out their meaning. Through this device...

Gary Oldman gives us a Smiley to equal Alec Guinness's in this triumphant adaptation of John le Carré's masterpiece

Directed by Tomas Alfredson, who made the subtly suggestive Swedish vampire movie Let the Right One In, and adapted by the British husband and wife team, Peter Straughan and the late Bridget O'Connor, this is as lucid and accomplished a screen version of a long, complicated novel as I have seen. John le Carré is still best known for The Spy Who Came in From the Cold, his realistic 1963 riposte to the then burgeoning cult of James Bond, the title of which immediately entered the language alongside Graham Greene's The Third Man and Our Man in Havana.

But the book that changed the course of espionage fiction came 11 years later. Following his single excursion into conventional psychological fiction (The Naive and Sentimental Lover), le Carré's Tinker, Tailor, Soldier,...

With its complex plotting, acute understanding of human nature and timeless moral dilemmas, Tinker, Tailor, Soldier, Spy is Le Carré's masterwork.

• Download the Tinker, Tailor, Soldier, Spy audio book for free

A

Adapting a novel for the cinema presents unique problems – it's not at all the straightforward process people assume, particularly if the novel is as complex and cerebral as Tinker, Tailor, Soldier, Spy. The screenwriters of this exceptionally fine and sombre new dramatisation of the novel (Peter Straughan and the late Bridget O'Connor) have perfectly reflected its labyrinthine world of bluff and counter-bluff, of suspicion and paranoia, of corruption and betrayal.

B

Betrayal is the novel's and the film's great theme – and perhaps the dark undercurrent beneath all of John Le Carré's work. Indeed one might claim that, among the few things we British are very good at – cricket, bespoke tailoring, dictionaries – is the spy novel. Possibly this...

"Liberally adapted from Joseph Conrad's first novel, Almayer's Folly is Chantal Akerman's most satisfying fictional feature since La captive," writes Gabe Klinger in Cinema Scope. "Like that earlier film, which mined from Proust, it boils down its richly detailed source to a few austere gestures that balance the cross-cultural impulse of her recent documentary work (De l'autre côté comes to mind) with her better-known European narratives. There's not much in the way of plot, but rather a lot of emotive intensity in the mise en scène that suggests, while at the same time eluding, the deeper literary structure of Conrad's story."

"The film's prologue is deceptively thriller-like," writes Neil Young in the Hollywood Reporter. "A man wanders through an unidentified southeast Asian waterfront town until he pulls a knife and kills an outdoor music bar entertainer, leaving one of the accompanying dance troupe alone on stage. This...

It looks like we're going to see another incarnation of Joseph Conrad’s “Heart of Darkness.” Exploring the inherit savagery that looms just under the surface of modern societies, Conrad created a work that many declared to be the first twentieth-century novel.

Francis Ford Coppola made an unbelievably chaotic rendition of it in 1976’s “Apocalypse Now.” A shocking look into the Vietnam War starring Martin Sheen and Marlon Brando, Coppola made a film that updated the setting, but kept the premise.

Director Peter Cornwell wants to do it again: this time in space. Variety reports the film, aptly titled “Into Darkness,” will follow a spaceship on a journey through cosmic waters to locate an un-civilized fellow and return him to society.

I love both Conrad’s classic book and Coppola’s movie, but this has got me a little anxious. Cornwell’s best-known work is “The Haunting in Connecticut” and his screenwriter,...

Earlier, we reported on a planned adaptation of Alexandre Dumas. The Count of Monte Cristo that would be set in the distant future, so it only makes sense that we follow that up with news of a Heart of Darkness adaptation set on outer space. Peter Cornwell, who helmed the 2009 supernatural thriller The Haunting in Connecticut, has been tapped by Radar Pictures to direct a sci-fi take on Joseph Conrad.s classic novella as a spacebound sci-fi pic. Variety says the film, titled Into Darkness, will work from a screenplay by Tony Giglio and Branden Morgan that loosely follows Conrad.s story about a ship.s captain on a journey through enemy territories to return a shadowy figure (probably named Kurtz) to civilization. The most famous rendition of Conrad.s 1902 tale belongs to Francis Ford Coppola, whose Apocalypse Now put Martin Sheen and Marlon Brando through the paces and nearly...

Peter Cornwell's Into Darkness will translate Conrad's novella to the far reaches of space – but can it begin to match Coppola's classic?

Is it possible that we're entering a brave new era for celluloid sci-fi? Ridley Scott's Alien pseudo-prequel Prometheus, Joseph Kosinski's Tom Cruise-starring Oblivion and Duncan Jones' long-gestating Blade Runner paean Mute all hint at a dark and dystopian veneer largely missing from the multiplexes since the halcyon days of the 1970s. A newly announced adaptation of Joseph Conrad's Heart of Darkness, set on another planet in the dim and distant future, also seems to be reading from the same script.

The latter project, which Variety reports is to be directed by The Haunting in Connecticut's Peter Cornwell, almost inevitably conjures up the suggestion of Apocalypse Now in space. At least, one has to imagine that's how it was sold to the bigwigs at Radar Pictures.

Peter Cornwell (The Haungting in Connecticut) has been hired to direct a sci-fi take on Joseph Conrad's Heart of Darkness for Radar Pictures. The project is titled Into Darkness and has a script co-written by Tony Giglio and Branden Morgan. Radar's Ted Field and Mike Weber are producing, with Arclight Films overseing foreign sales.

Francis Ford Coppola also based Apocalypse Now on Conrad's novel. The1902 book tells the story of "ferryboat captain Charles Marlow's quest to return shadowy ivory trader Kurtz to civilization." Giglio wrote Death Race 2 and is writing Death Race 3.

This is an awesome story with a lot of potential, but I am worried because Death Race 2 was horrible. It will be interesting to see how this turns out. What are your thoughts?...

Radar Pictures has hired Peter Cornwell ( The Haunting in Connecticut ) to direct an adaptation of Joseph Conrad's novel, "Heart of Darkness," reports Variety . The adaptation, to be titled Into Darkness , will take place in space. Conrad's 1902 book is the story of ferryboat captain Charles Marlow's quest to return shadowy ivory trader Kurtz to civilization. Tony Giglio and Branden Morgan wrote the script. Radar's Ted Field and Mike Weber are producing.

Into the Darkness directed by Peter Cornwell Radar Pictures has tapped Cornwell of The Haunting in Connecticut to helm the adaptation of the Heart of Darkness novel by Joseph Conrad as a spacebound science fiction film, reports Variety. Pic is titled as Into the Darkness and was scripted by Tony Giglio and Branden Morgan, an actor-turned-writer who met Giglio while working with him on Timber Falls and Enemy Hands, both helmed by Giglio. Into the Darkness is loosely based on the 1902 Conrad story of ferryboat captain Charles Marlow who aims to return ivory trader Kurtz to civilization.

Into the Darkness directed by Peter Cornwell Radar Pictures has tapped Cornwell of The Haunting in Connecticut to helm the adaptation of the Heart of Darkness novel by Joseph Conrad as a spacebound science fiction film, reports Variety. Pic is titled as Into the Darkness and was scripted by Tony Giglio and Branden Morgan, an actor-turned-writer who met Giglio while working with him on Timber Falls and Enemy Hands, both helmed by Giglio. Into the Darkness is loosely based on the 1902 Conrad story of ferryboat captain Charles Marlow who aims to return ivory trader Kurtz to civilization.

Into the Darkness directed by Peter Cornwell Radar Pictures has tapped Cornwell of The Haunting in Connecticut to helm the adaptation of the Heart of Darkness novel by Joseph Conrad as a spacebound science fiction film, reports Variety. Pic is titled as Into the Darkness and was scripted by Tony Giglio and Branden Morgan, an actor-turned-writer who met Giglio while working with him on Timber Falls and Enemy Hands, both helmed by Giglio. Into the Darkness is loosely based on the 1902 Conrad story of ferryboat captain Charles Marlow who aims to return ivory trader Kurtz to civilization.

Radar Pictures announced today that The Haunting in Connecticut‘s director Peter Cornwell would direct Into Darkness, a sci-fi retelling of Joseph Conrad’s Heart of Darkness, based off of Tony Giglio’s script. That’s all Variety had on the cool sounding production.

Killer Film quickly caught up with screenwriter Tony Giglio (Death Race 2, Choas) to talk more about this project, and the team behind it. Here’s our exclusive chat:

“Great novels are great because they can be revisited over and over and loved and appreciated by different generations. Heart Of Darkness can be interpreted differently now then when it came out,” says Giglio to us about the famous Francis Ford Coppola film. “And each time it can mean something new and relevant. That’s what happened in our case.”

He continues: “I thought there was definitely something in Conrad’s novel that was relevant today. Branden...

Radar Pictures has signed Peter Cornwell (The Haunting in Connecticut) to direct an adaptation of Joseph Conrad's Heart of Darnkess.  Tony Giglio (Death Race 2) and actor Branden Morgan repurposed the story for a sci-fi picture set in outer space under the new title Into the Darkness, because as we all know, space is a cruel, heartless bitch.  Variety reports Radar's Ted Field and Mike Webber (Twleve). Conrad's novella -- a scathing critique of European colonialism -- centers on Charles Marlow, an Englishman hired to transport ivory downriver.  It was most famously adapted (albeit loosely) by Francis Ford Coppola in Apocalypse Now.  Read the book synopsis after the break. The story tells of Charles Marlow, an Englishman who took a foreign assignment from a Belgian trading company as a ferry-boat captain in Africa. Heart of Darkness exposes the myth behind colonization while exploring the three levels of darkness that the protagonist,...

Was it not for his aversion to numerous varieties of poisonous bugs - and the thought of travelling to anywhere that might contain said creepy crawlies - George Lucas may never have created the Star Wars franchise that so many of us know and love; and the world as we have known it since 1977 may have been a very different place indeed. You see, George's friend and fellow film school student Francis Ford Coppola had earmarked him to direct an adaptation of Joseph Conrad's Heart Of Darkness, transplanted into the still raw setting of the Vietnam War by writer John Milius.

George, however, passed on the offer and instead went back to tinkering with his long gestating space opera, leaving Coppola to pick up the directorial reins on the movie that took top spot in Shadowlocked's Top 100 Movies Of The 1970s, the incomparable Apocalypse Now.

Ironically, had Coppola had his way,...