The Ghostbusters video game that will be released this summer is canonical, meaning that in the world of the Ghostbusters, the video game events took place in the early 90s. The Ghostbusters have become a franchise and new equipment is being tested out by you: the new equipment specialist.

I really want this game to rock.

Below the cut is a behind-the-scenes video I took from AICN an the opening cinematic via GameTrailers.com. Check ‘em out:

The creation of Robert Zemeckis’ 1988 live-action/cartoon comedy Who Framed Roger Rabbit is one of my favorite potpourri stories, where multiple source materials meshed with new technology and Bob Hoskins to create a very interesting piece of cinema.

When Roger Rabbit was released, it was one of the more expensive movies of its time with a budget of $75 million. The film managed to sweep up over $150 million in North America alone ($330 worldwide) and went on to win 4 technical Oscars at the 61st Annual Academy Awards in 1989.

The story of the film, revolving around Roger being framed for a murder and Christopher Lloyd attempting to build a freeway through Toon Town, was copped from two different sources and adapted to the film we know today.

Gary Wolf wrote the novel “Who Censored Roger Rabbit?” in 1981. This novel is generally considered to have brought the majority of the ideas to the screenplay. In the novel, detective Eddie Valiant (the name of Bob Hoskins’ character in the movie) is hired by Roger to find out why his bosses have reneged on a promise to give him his own strip (the book is based more around the theme of comic strips than the film’s animated cartoons), eventually he finds Roger murdered with a clue left in the form of a “word bubble.” In the book, ‘toons talk with sprouting word bubbles as well as vocalization as a nod to the comic strip origins of the book’s characters.

The other portion of Who Framed Roger Rabbit, the plot involving Chistopher Lloyd’s Judge Doom wanting the deed to Toon Town so he could build a freeway through it, was actually lifted from the proposal for a sequel to Roman Polanski’s Chinatown. The screenwriter Robert Towne, who wrote the Chinatown screenplay had planned out a trilogy for Jack Nicholson’s Jake, the second called “Cloverleaf” and featured - you guessed it - the building of the first freeways and the decline of Red Cars (more on Red Cars HERE).

Since the film was made in 1988, a lot of the Bob Hoskin’s acting was done to thin air. While watching the flick over the weekend with some friends, we all noticed that Hoskin’s, obviously new to the idea of things being animated in later (as Hollywood had yet to break into the post-Juarassic-Park SFX Mecca), acts most of his scenes with toons looking waaaaaay off frame.

Of course, now we live in a world of motion capture and 3D animation. So what property could be suited to deal with the ramifications of such a thing?

I guess that question was leading…

Cincinnati has a real life superhero, and I guess this sort of thing is a rising trend (though obviously it’s not made up of people who read Mark Millar’s Kick-Ass). The news story contains most of what you need to know.

It’s just; damn.

I like this kids’ gumption, but I’m pretty sure it’s illegal. And too early to whip out my superhero costume to start patrolling the streets of Brooklyn. If I do that I might get shot or get the swine flu.

Clip via Cinematical.

If you’re not psyched for James Cameron’s 3-D motion-capture epic AVATAR, after reading what Oceans 11/Che/The Girlfriend Experience director Steven Soderbergh has to say, then…well, you either don’t know about Avatar or you’re crazy…

This week in the Terminator Salvation ARG, Skynet has started talking via video (not just videos from our future anymore) and at the end of a video featuring one of Skynet’s partner companies, a series of numbers was flashed. It was a code, and together the ARG players cracked it.

The message: “Skynet Research initiate phase two judgement day.”

No surprise, then, we get our first viral video from the Skynet labs themselves, featuring a few blank-staring hosts. Creepy.

I don’t know about you, but where I live movie tickets are, like, $11. And people assume that I have some series of clandestine connections to see films, but really - with blockbusters especially - I’m mostly in your boat. And though I pledge to see Wolverine in the theaters because I stole some money of Fox’s already by watching the workprint, I think that “multiple secret endings” is partial bullshit.

Let’s get serious: Am I going to play Russian roulette with $11 movie tickets in hopes that I’m gonna catch ‘em all and see “the complete story?” No. That’s not cheap, and I am cheap.

Here’s what I’m gonna do. I’ve been talking to people, surfing the internet and I think I can tell you, after the cut, how many “secret” endings there are, who they involve, which one you’re gonna hope you get and which one you’ll be pissed if you get…

I don’t know what’s up with this madness, but Sony Pictures Classics, who acquired the Duncan Jones-directed Moon at Sundance this year, seems to be only releasing the Sam Rockwell sci-fi drama in New York and LA come June 12th.

Which is much worse than this movie should be doing, distribution-wise. Granted, I’m only going by what I’ve heard about the film, but tomorrow when I head to the Tribecca Film Festival screening and try to steal myself a poster, I have a feeling I’ll be bemoaning this more.

SPC’s website has this e-mail listed for “general comments,” why not yell at them on behalf of Mr. Jones (or follow Jones on Twitter!): Sony_Classics@spe.sony.com.