Actor Corey Haim died from an apparent accidental drug overdose after he was rushed to a Los Angeles County hospital early this morning, according to the Los Angeles Police Department.

Haim, 38, was taken from his mother’s North Hollywood home by ambulance to Burbank’s Providence St. Joseph Medical Center, according to police Sgt. Frank Albarran.

He was pronounced dead at 2:15 a.m. PT, Ed Winter, the assistant chief of the L.A. County Department of Coroner, said.

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It was just a matter of time before another rainbow classic from Hollywood’s golden era gets on the radar of the movie studios to be remade - or rather updated for modern audiences.

Fresh off Disney’s massive success with Tim Burton’s “Alice in Wonderland,” Warner Bros. wants to remake another childhood classic. Like, really classic.

The studio is examining two existing “Wizard of Oz” projects, with an eye toward giving one of them a modern gloss and moving it toward the screen.

One project, called “Oz,” currently lives at Warner’s New Line label. It’s being produced by Temple Hill, which is behind a little franchise called “Twilight,” and has a script written by Darren Lemke, a writer on the upcoming “Shrek Forever After.”

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For some reason, it just now occurred to me that the last line of Shutter Island and the key closing line of The King of Comedy are almost identical.

“Now, tomorrow you’ll know I wasn’t kidding… and you’ll think I was crazy. But, look, I figure it this way. Better to be king for a night than schmuck for a lifetime.”

“Which would be worse, to live as a monster or to die as a good man?”

And then, I started thinking about other Scorsese films.

Raging Bull closes with a quote on a title card: So, for the second time, the Pharisees summoned the man who had been blind and said: / “Speak the truth before God. / We know this fellow is a sinner.” / “Whether or not he is a sinner, I do not know,” / The man replied. / “All I know is this: / Once I was blind and now I can see.” - John IX, 24-26 / the New English Bible

Casino ends with: “But in the end, I wound up right back where I started. I could still pick winners, and I could still make money for all kinds of people back home. And why mess up a good thing?”

GoodFellas closes with, “I’m an average nobody. I get to live the rest of my life like a schnook.” (smile) (cut to Tommy shooting his gun at camera a’ la The Great Train Robbery) (Henry walks back into his suburban home)

Even The Last Temptation of Christ closes with, “I fought you when you called. I resisted. I thought I knew more. I didn’t want to be your son. Can you forgive me? I didn’t fight hard enough. Father… give me your hand. I want to bring salvation! Father, take me back! Make a feast! Welcome me home! I want to be your son! I want to pay the price! I want to be crucified and rise again! I want to be the Messiah! It is accomplished! It is accomplished.”

Every one seems to be about a man who has realized the dichotomy of his life and making a choice. Once blind, now seeing… for better or worse.

At the end of The Color of Money, Eddie finally sees what he is and decides to keep moving in that same direction. At the end of Gangs of New York, Bill The Butcher realizes he is at the end of his time and sacrifices himself to Amsterdam. InThe Departed, Costigan makes his decision and while the story then takes the choice away from him, it finds another way to force Sullivan to face his truth before his choice is also taken away.

Have I missed this simple truth about Scorsese all these years? Are these all, in the end, the same story?

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It was a scene reminiscent of “The Breakfast Club.” On stage at the Oscars was a brain, and a basket case, and a princess, and a criminal. Oh, and Macaulay Culkin, Matthew Broderick, and Jon Cryer were there, too.

At last night’s ceremony, awards were given and speeches were made, but one of the most memorable moments came during the tribute to late writer-director John Hughes. Molly Ringwald (star of “The Breakfast Club,” “Pretty In Pink,” and “Sixteen Candles”) and Matthew Broderick (”Ferris Bueller’s Day Off”) gave an introduction honoring the late artist. Broderick spoke of the fact that thanks to Mr. Hughes, every day someone, somewhere comes up to him, taps him the shoulder and says, “Hey Ferris, is this your day off?”

And then out came several more actors from some of Mr. Hughes’ best known works. Joining Molly and Matthew on stage were Anthony Michael Hall, Ally Sheedy, Judd Nelson, Jon Cryer (”Pretty in Pink”), and Macaulay Culkin (”Home Alone”). With Ringwald, Hall, Sheedy, and Nelson together, fans of Hughes were thisdarnclose to having a full-on “Breakfast Club” reunion.

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We now know that “The Hurt Locker” upended “Avatar” for Best Picture honors at this year’s Oscar awards on Sunday.

But it will still be a while before we know if the Kathryn Bigelow film will stand with the best of all time.

We can all think of previous winners we thought weren’t deserving in years crowded with very good movies or films that weren’t even nominated that should have won. However, sometimes the Academy of Motion Picture Arts and Sciences gets it right.

Here, based on interviews with film buffs and movies historians, are the Top 10 Best Picture winners — including a pair of multifilm sets — that are must-haves for your DVD/Blu-ray library.

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Anyone who watched the entire Oscar broadcast last night couldn’t help but say “What was that?” when one man’s speech was crashed by a lady in a purple jacket. It was all too reminiscent of another abrupt takeover of an award-acceptance speech, which is why the mystery woman was immediately dubbed “Lady Kanye” in Internet chatter.

In a bizarre moment that was eerily similar to Kanye West’s storming of the MTV Video Music Awards stage during Taylor Swift’s acceptance speech, filmmaker Roger Ross Williams was just a few seconds into his acceptance speech for Best Documentary Short, “Music By Prudence,” when the ambush happened. A redheaded woman suddenly appeared next to Williams, took over the microphone saying, “Isn’t it just like a man not to let the woman talk?” She then launched into her own speech as Williams stood there uncomfortably holding his award until the music began to play and the two were ushered off stage

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‘The Hurt Locker’ was the winner of the Best Picture award at the 2010 Oscars. The Iraq-set war drama about bomb disposal experts also netted director Kathryn Bigelow the Best Director award, making her the first woman to win the award in film history.

“The Hurt Locker” follows a United States Army Explosive Ordnance Disposal (EOD) team during the Iraq War and stars Anthony Mackie, Brian Geraghty and best actor nominee Jeremy Renner. They star as members of a U.S. Army EOD unit in Iraq and the film tells of their tour together as they contend with defusing bombs and the threat of insurgency.

Bigelow shot in the Middle East, specifically in Jordan, within miles of the Iraq border

You wouldn’t know it to look at him — he is one of those actors, like Robert Redford, who seem fated to be called “boyish” well into retirement age — but Matt Damon turns 40 this year. And that’s inspired some sober reassessments on his part.

“I guess there’s got to be the admission that I’m never going to play for the Red Sox,” the Massachusetts native admits. “Although I kind of got over that one in my 20s.”

Well, maybe that’s not the most dramatic example.

Yet the impending milestone does have the actor thinking about changes in his career — more producing, a return to writing, maybe even directing his first film. New paths will be explored, old ones reassessed.

But the kind of work — and the co-workers he chooses — isn’t likely to change at all.

Why should it? Last year brought his acclaimed work in “The Informant!” for Steven Soderbergh and an Oscar-nominated part in “Invictus” for Clint Eastwood. And Damon’s new movie, “Green Zone,” opening Friday, reunites him with “Bourne” series helmer Paul Greengrass.

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The last time filmmaker Martin Scorsese delved into the world of terror, it was for his 1991 remake of the 1962 thriller Cape Fear starring Robert De Niro. Over eighteen years later, he’s exploring some of the same territories of fear and suspense in Shutter Island, his adaptation of Dennis Lehane’s novel.

The eerie film reteams him with his regular leading man Leonardo DiCaprio, playing U.S. Marshal Teddy Daniels, sent to investigate a mysterious disappearance at the high-security hospital for the criminally insane along with his partner Chuck (Mark Ruffalo). Once they arrive, they become trapped by a dangerous storm and must try to navigate their way around the institution’s enigmatic director Dr. Cawley (Sir Ben Kingsley) who seems very casual about one of his dangerous patients vanishing into thin air.

Helping Scorsese to create the tone and mood of some of those great suspense and horror movies of the late ’40s and early ’50s is screenwriter Laeta Kalogridis, whose experience writing genre fare culminated in her collaboration with James Cameron on his worldwide blockbuster Avatar. She was also involved with the adaptation of Timur Bekmambetov’s Night Watch, and is currently adapting two beloved Japanese animes, Battle Angel (also for Cameron) and Ghosts in the Shell, for American moviegoers.

Shock Till You Drop got on the phone with Ms. Kalogridis to talk about how her latest screenplay was realized by another master director.

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