One would like to think that they're only asking for so much when they opt to see a flick titled Transporter 3, and that fulfills our end of the bargain. We, the audience, provide the expectations, however modest, and they, the filmmakers, provide the execution. Frank Martin knows when he has to deliver; after all, it's his job.

Olivier Megaton, on the other hand... not so much.

Megaton has taken on the job after serving as second-unit director on Hitman. Given that both stories are about stoic bald dudes kicking butt across Europe with a native femme in tow, I'd guess that's as good a qualifier as any, though not good enough in hindsight. Our stoic bald dude is Frank Martin, natch, and he's once again played by Jason Statham with all the steely glares and ab crunches that come with the territory (and seemingly every role he takes).

Back in September, standing outside of Austin's Paramount Theatre, myself and a couple of others listened to Darren Lynn Bousman as he talked about the challenges he was facing in getting Lionsgate to properly release his Repo! The Genetic Opera. The studio had taken down rave after rave after a select screening several months before, and now the next night's Fantastic Fest screenings were as good a chance as any to prove the film's worth.

Well, I saw the film the following night amidst an impressive turn-out of die-hard fans, so while I may have already made my own thoughts clear, I cannot deny its growing (and all but inevitable) cult following, and it seems that neither can Lionsgate. Following a limited release and successful road tour, Bloody Disgusting reports that each will be expanded in the weeks to come to include the likes of Phoenix, New Orleans, Boston, Philadelphia, and Houston.

As for everyone else, you can either keep your fingers crossed for a third tour (though Bousman and co-creator Terrance Zdunich may want to see their families for the holidays, who knows) or just wait for the DVD, which will apparently still hits stores in January.

With only two features to their credit -- they co-wrote and co-directed 2006's Crank, and together scripted this past spring's Pathology -- maybe it's a bit premature to declare myself a fan of the duo known as Neveldine/Taylor. (Even if that's the case, Eugene's got my back.) Yes, I'm the guy psyched for Crank 2: High Voltage, and I'm willing to give them the benefit of the doubt for other upcoming projects, such as the Gerard Butler actioner Game and the comic book adaptation Jonah Hex...

Well, now, the latter's lost maybe only a fraction of what precious little interest it had, as Neveldine/Taylor has reportedly walked away from directing the project, citing (and say it with me now) "creative differences." However, the implication from this Variety brief is that their script is already done and will be the same one that Josh Brolin is still tapped to star in (to Thomas Jane's probable dismay).

Something tells me that a film that's gathered this much attention to date won't go unmade, but it's now a matter of who will helm it. 2009 will remain the year of N/T regardless, with Crank 2 scheduled to open in April and Game in September.

Repo! The Genetic Opera is tailor-made to attract a fan following in coming years. To an extent, this stage-inspired future-set goth-rock horror musical already has, and its limited release – not to mention a concurrent road-show tour – is fitting for a film unique enough to never worry itself (nor its studio) with a screen count in the triple digits. This is a cult classic in waiting for Hot Topic teens who still believe that Tim Burton directed The Nightmare Before Christmas and won't know who Joan Jett is when she makes an appearance; the emphasis here falls heavily on 'cult' and not so much 'classic'.

The Halloween weekend scared up frighteningly weak numbers for bigger studio releases. How did independent films fare?

Winners:
1. My Name is Bruce (Image)
2. Noah's Arc: Jumping the Broom (Logo)
3. Religulous (Lionsgate)

Let's hear it for Bruuuuce! (Not, not Springsteen.) Ladies and gentlemen, the fabulous Bruce Campbell debuted at the top of the heap among limited releases, with a per-screen average of $18,800, according to estimates compiled by Box Office Mojo. Opening at one theater in New York, My Name is Bruce features Campbell as both star and director. Campbell's site lists upcoming screenings and appearances by The Man Himself.

Romantic comedy Noah's Arc: Jumping the Broom fared well in its second week of release, making an estimated $14,820 per screen, representing a normal drop of 50%. Are there enough loyal fans of the Logo TV series out there to support a wider release? It will expand to Detroit, Houston, San Francisco, Palm Springs, and Ocean, New Jersey on Friday; the official site has complete theater information.

Now in its fifth week, Religulous continues to draw audiences eager to see Bill Maher's take on organized religion. Earning $1,358 per screen, the film has grossed $11,452,000 so far; it recently became the highest-grossing doc of the year and is among the top 10 highest-grossing docs of all time, according to Docsider.

Not Winners / Indie Horror Scorecard:
1. Dear Zachary (Oscilloscope)
2. Splinter (Magnolia)
3. Eden Lake (Third Rail)

Despite our editor-in-chief's highest recommendation, Dear Zachary only made $2,800 at its single engagement. Perhaps word-of-mouth will build? That's still better than highly-regarded horror pic, Splinter, which managed only $2,200 each at four theaters (per Leonard Klady), or well-reviewed Brit thriller Eden Lake, which got dumped by the Weinsteins onto their loss-leader distribution arm Third Rail Releasing and drew just $550 per screen at 10 theaters.

When you shelled out nine bucks this weekend to see if Jigsaw would do anything new in Saw V (answer: nope), you were also contributing to a milestone. With the Friday-Sunday $30 million haul, the Saw series is now the highest grossing horror franchise in history, with a cumulative domestic gross of $316 million. Just think of all the microcassette tapes and countdown timers that kind of money could buy!

Of course, the other heavy hitters in this field -- Halloween, Friday the 13th, and A Nightmare on Elm Street -- were mostly released in the 1980s, when movie tickets were a lot cheaper. It's no surprise that a franchise launched in the 2000s would be more lucrative. Still, Saw has made its loot in just five films, compared to Elm Street's eight (including Freddy vs. Jason), Halloween's nine (including last year's remake), and Friday the 13th's eleven (including Freddy vs. Jason again).

A curious fact: Prior to this weekend, the race was surprisingly close. Box Office Mojo has the Friday the 13th series at $315 million, Elm Street at $307 million, and Halloween at $275 million. (Lionsgate's press release touting the Saw achievement has the Halloween series at $307 million, but I don't know where they're getting that from.)

But Jigsaw shouldn't rest on his laurels just yet. The Friday the 13th reboot due in February is liable to put Jason Voorhees in the lead again, although that will be short-lived if the seemingly inevitable Saw VI does indeed appear next October. If the Friday remake is successful, though, it could lead to more sequels and more competition. Personally, I'd rather have a mute, hockey-masked punisher as the all-time box office champ over a cancer-brained faux-intellectual who can't shut up. But that's just me! You can vote however you want. In the meantime, congrats to Saw for out-grossing Freddy, Michael, and Jason, and congrats to me for not making a pun on the word "grossing."

Naturally, today's release of Saw V (read our review) brings with it numerous trailers for early '09 horror offerings. Earlier this week, we received the first trailer for that Friday the 13th remake (which you can see here), and now we have two others.

First up is My Bloody Valentine 3D, the crotch-targeting poster for which Scott made mention of earlier today. Lionsgate is going to have trouble actually marketing this in 3-D, as family-friendly fare continues to dominate that format; thus, we have this somewhat hokey green-band number courtesy of IGN. (For what it's worth, several little birdies who had the good fortune to see some footage recently -- in all its R-rated, three-dimensional glory -- were seriously impressed. Nothing sells quite the same as airborne eyeballs...)

Finally, there's Underworld: Rise of the Lycans: third in the franchise to date, but first in our hearts terms of story continuity. Since Rhona Mitra came to so very much resemble Kate Beckinsale in last spring's Doomsday, it only makes sense that she formally take up the mantle in the war between werewolves and vampires. Be sure to check out this recently released trailer if you also want to see what it looks like when Michael Sheen isn't feuding with the werewolf-like Nixon.