In the print version of his review, Gleiberman includes a section in which he tours through proms as depicted in various films, including Napoleon Dynamite, Romy and Michele's High School Reunion, Pretty In Pink, Saved!, and Footloose, while devoting a separate paragraph to Brian De Palma's Carrie:

There's no doubt that the ultimate prom movie is Carrie (1976), a suburban Cinderella daydream-turned-blood-drenched nightmare. As the pale senior-class mouse who gets duped into becoming prom queen (all so she can get a bucket of blood dumped on her during the crowning), Sissy Spacek makes Carrie the cringing wallflower in all of us: one who both covets and fears acceptance. Then she becomes an avenging angel, and the film's slow-motion majesty turns it into the most lyrically emotional of all modern thrillers, a vision of high school as hell.

OTHER DE PALMA REMAKE PLANS: 'DRESSED TO KILL' & 'THE FURY'
In 2002, NBC remade Carrie as a TV movie that the network hoped would lead into a TV series, but the ratings and feedback told a different story. Since De Palma's Sisters was remade by Douglas Buck in 2006, two other De Palma films have been batted around the potential remake cage. In June of 2007, MGM partnered with Hyde Park Entertainment, who hired Rick Alexander to write a remake of De Palma's Dressed To Kill (a film written and directed by De Palma). The plan at the time was to have the remake inaugurate a direct-to-DVD series aimed at specific demos. Alexander's IMDB bio states that he "has written a boldly conceived 'reimagining' of the classic '80s thriller Dressed To Kill."

In April of 2008, FOX 2000 hired Brian McGreevy and Lee Shipman to write a contemporary reimagining of John Farris' The Fury, which De Palma had made into a film in 1978. McGreevy and Shipman were hired by Warner Bros. earlier this year to reimagine Bram Stoker's Dracula, with Jaume Collett-Serra set to direct.

Meanwhile,it was announced last week that Banderas' production company, Green Moon, is teaming up with Femme Fatale producer Tarak Ben Ammar's Quinta Communications, along with Vertice 360 to produce Banderas' next two films. Banderas will produce and star in the alliance's first film, Automata, a futuristic story that will shoot in in Tunisia and Egypt at the end of this year, according to the Hollywood Reporter. Then in 2012, Banderas will produce, direct, and act in Solo, playing a recently returned soldier suffering post-traumatic syndrome. Solo is based on an original story by Band Of Brothers' Erik Jendresen.

Aside from all of that, Banderas stars in Pedro Almodóvar's highly anticipated horror film, The Skin I Live In, which has its world premiere at Cannes this Thursday.

De Palma also says that Al Pacino's performance in Scarface is incredible, and that he was proud to be able to help the actor create such a performance. At the end of the piece, he discusses how amazing it is that most directors one talks to have a total commitment to what they are doing. "They're not in here to play games," De Palma says. "When I talk to my friends, like Scorsese or Spielberg or Lucas or Coppola, these guys are driven. They've been to the top, they've been to the bottom, they've seen it all, and they're still going. Because they have a commitment and belief in what they're doing, they've had some success to see that their visions can in fact be realized, and they're just gonna keep going until they fall down."

Collis later asks Bolton to elaborate about the Scarface parody:

A SMALL SELECTION OF 'BLOW OUT' REVIEWS FROM THE LAST TWO WEEKS
Randy Miller III at DVD Talk
Blow Out is unquestionably a fantastic film that, commercially and (perhaps) critically, was released at the wrong time. In the last 30 years, however, it's aged remarkably well and stands as an underrated career highlight for all those involved. Combining equal parts paranoia thriller, black comedy and tragic love story, Blow Out should enthrall those new to the film and delight those that haven't seen it in years. Criterion's Blu-Ray does a perfect job of maintaining the film's tone and spirit, pairing a rock-solid technical presentation with a handful of thoughtful, appropriate bonus features. While it's a bit on the pricey side (even for a Criterion disc), Blow Out is a top-tier effort and this Blu-Ray is worth every penny. Very Highly Recommended.

Travis Crawford at Filmmaker Magazine
The ending of Brian De Palma’s Blow Out hits you in the chest like a hammer. It’s not supposed to be this way; American studio movies don’t end like that. But of course it’s the heartbreaking denouement that has partially helped to make the film endure in the 30 intervening years since its commercially disastrous release, though one can certainly fathom how it alienated audiences at the time (for the record, some critics were passionate defenders; it’s just that most viewers don’t savor being implicated in the spectacle of violence as it is quickly transformed into tragedy).

LUDIVINE SAGNIER: CORNEAU WAS OBSESSED WITH MAKING A FILM ABOUT 'THE PERFECT CRIME'
At New York's "Rendez-vous with French Cinema" last March, Ludivine Sagnier was present for a Q&A following a screening of Love Crime. According to Beast McGuffin, Sagnier said that for many years, Corneau had been obsessed with making a movie about "the perfect crime," and "this was the end result." McGuffin adds that the working title for the film was "The Perfect Woman." McGuffin continues:

The film is competent, spare (even down to the evocative saxophone soundtrack, which reminded me of the spate of American neo-Noir movies of the 90s), and entertaining, but what in a weird way, after the crime is committed you begin to feel that the movie is about, really, not 'the perfect crime' but instead, how to write the screenplay about 'the perfect crime'. This is hard to explain without giving away elements of the film's plot... But if you see the film, or the remake, I think you'll see what I mean

OTHER RECENT 'LOVE CRIME' REVIEWS
Erica Abeel at indieWIRE
The wickedly entertaining “Love Crime,” the last film of the late Alain Corneau, brings on the mother of all catfights. Kristin Scott-Thomas is perfectly cast as a ruthless exec in some vague multinational, more serpent than warm-blooded mammal. She both caresses and exploits her ambitious young assistant (Ludivine Sagnier), tossing off such lines as “You have a great talent and I made the most of it.” After humiliating Sagnier at a company event, the assistant doubles down for an elaborate revenge. The scenes of company business, filled with mumbo-jumbo, hardly bother to appear authentic; and hey, what happened to the lesbian vibe in the early scenes? But the bitchery is a hoot, the chilly chrome color design is an extension of the characters’ inner world and the final sting in the tail a nasty surprise. You can bet that in his remake Brian De Palma will pick up on that lesbian motif.

Doris Toumarkine at Film Journal International
A much-anticipated offering that offered less than anticipated was the late Alain Corneau’s corporate-crime melodrama Love Crime, starring Kristin Scott Thomas and Ludivine Sagnier as dueling, fired-up execs at a multinational agro giant. Part soft-core tease (Scott Thomas hits persuasively on Sagnier, who utters “I love you,” but it’s all gratuitous), part executive-suite close-up of Machiavellian scheming, and part murder intrigue, the film—slick, ballsy, silly—fails to deliver one frame of authenticity or emotional tug. But, hats off to the cast, it does entertain. Reportedly, Brian De Palma has remake rights for a U.K. shoot.

Stephen Holden at the New York Times
In this vicious psychological cat-and-mouse game, Kristin Scott Thomas plays the chief executive of the Parisian branch of a multinational corporation who does lethal battle with her protégée (Ludivine Sagnier). The movie plays like an entire season of “Damages” compressed into about 100 nasty minutes.

Edmund Lee at Time Out Hong Kong
Whilst remaining thoroughly cold and precise, Love Crime then unveils a ludicrous revenge plot, so matter-of-factly presented that the audience may be forgiven for expecting a little more passion from the proceedings. This, incidentally, looks to be exactly where Brian De Palma plans to enter the equation himself: for better or for worse, the thriller veteran of Dressed to Kill, Scarface and Femme Fatale is all set to direct an English-language remake of the film, titled, well, Passion. It’s surely something the original could have done with a lot more of.