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The release of the movie The Three Musketeers has been delayed by a week. Director Paul WS Anderson's latest film was to hit the theatres on October 14. But Summit Entertainment has announced a new release date for the 3D flick, which will debut in cinema halls on October 21.

The Three Musketeers is an adaptation of Alexandre Dumas' novel with the same name. The hot-headed young D'Artagnan reunites with three former legendary Athos, Porthos and Aramis to stop the evil Cardinal Richlieu, Duke of Buckingham as well as the treacherous Milady de Winter.

Logan Lerman is playing the role of D'Artagnan, while Matthew Macfadyen, Ray Stevenson and Luke Evans reprise the roles of Athos, Porthos and Aramis respectively. Milla Jovovich is essaying the role of Milady de Winter, while Orlando Bloom appears as Duke of Buckingham. Juno Temple, Christoph Waltz and Mads Mikkelsen are also in the supporting cast.

Mark your calendars, Film Fans: Universal Studios has announced that engines will roar on another Fast & Furious film. The sixth edition of the franchise is set for theatrical release on May 24, 2013.

News of another Fast hit comes as little surprise — after all, Fast Five, the latest in the longrunning Fast and the Furious film series, left the competition in the dust to top the weekend box office in North America last month. The film stars Ludacris and Dwayne “The Rock” Johnson and sees screen hunks Vin Diesel and Paul Walker reprising the roles they made famous in the 2000 original. Fast Five took in an estimated gross of $83.6 million — that’s the best opening for a film so far this year. The sum also speeds past the $71 million haul of its predecessor, Fast & Furious, which opened two years ago. Fast Five also posted April’s largest opening day ever with $33.2 million in tickets sold on Friday. The action flick added $81.4 million overseas to bring its worldwide total to $165 million.

When we’re grandparents, our scornful warnings to little grandchildren who refuse to eat their greens won’t be of the wicked wolf, or monsters under the bed; they will be of Tom Cruise. The once golden man-child of mainstream movies may be something of a laughing stock nowadays — a tiny, little, oh-so-punchable laughing stock — but his weird cartel of Scientology nuts and desperately overpaid lawyers has sent movers and shakers around Hollywood running to the hills in order to avoid a casual suing. This is all well and good, but we’d love to see him try and take the Predator — the most badass trophy hunting alien in the galaxy — to court.

Aging sucks. Sure, that might be a tad discriminatory, but we’re pretty sure even your grandparents would agree. Stuff starts sagging, memory fades, limbs become untrustworthy, chronic moaning sets in; it’s not a good look for anyone. So why are we innocent children of the 20th century constantly being forced to watch the retirement home sequel to all our Eighties faves nowadays? 1988’s Die Hard was undeniably awesome, an epoch defining film that spawned at least one more unforgettably good action movie and prompted hours of recess time spent using fingers as guns and screaming catchphrases (“Yippee ki-yay, motherf****er!”) as you PWNED your school chums, pretending to be Bruce Willis and ridding the under-siege tower of your terrorist friends.

Die Hard 4.0? It was a farfetched, patronizing reminder that Bruce Willis’ character will soon be able to ride the bus for free. Timothy Olyphant was a less satisfying white collar crook than even Philip Seymour Hoffman in MI:3 and the less said about the teen sidekick (played by Justin Long) the better. And no one but no one struts their stuff on a moving fighter jet; not even John McClane.

1987’s RoboCop was one of those movies that wasn’t necessarily the number one Eighties action flick, but that played an absolutely crucial role in the delicate popular culture continuum of the decade. Imagine, if you will, the Sixties without The Mamas & the Papas, or the Seventies without bad haircuts or the color orange. It would take away a vital part of the times. This is the case with RoboCop. It was a great movie. RoboCop himself was a half-man-half-machine policeman from the future, with a penchant for delivering justice the hard way and taking crap from no one.

Were RoboCop to exist in world of The Fast and The Furious, we dare say the smug grins would be wiped rapidly off the faces of Vin Diesel and his flatulent buddies as they got served some brutal justice for doing 55 in a 40 zone, an activity they seem particularly proficient at in the boring 2001 movie about illegal street racing. Vin Diesel would cry like a toddler. And we would laugh our asses off.

For anyone growing up in the 1980s, Arnie was boss. It was his decade; he may as well have had the copyright. His finest moment for many was of course his first foray into the robot-based action flick genre, playing the Terminator in the eponymous 1984 movie classic. Arnie portrayed a leather jacket-clad badass from the future, pursuing the protagonists through the streets of LA with an array of different weapons and a total disregard for human suffering.Scroll forward 22 years and said human suffering is the only thing ‘action’ hero Daniel Craig has in common with Arnie, making us all suffer through his pudgy, smirking, pudding-faced reboot of Bond in what might have otherwise held the potential to be a good movie. Killing off this particular 007 cannot come soon enough. Even Timothy Dalton would look better in a fight.

James Cameron waited 15 years until he turned his original script for Avatar into an Oscar-winning movie (following the George Lucas excuse of allowing CGI techniques the time to improve sufficiently), so it’s a real shame it blew. Sure, Avatar was arguably one of the most overwhelmingly colorful movies ever made — with the use of modern 3D techniques only furthering its stunning visual clout — but it also had the most contrived storyline since Smug Cop 4: Smugger Bastard. The storyline was a sort of fermenting temaki roll of Pocahontas, Dances with Wolves and An Inconvenient Truth all crammed together, and what’s more, the aliens in it sucked.Pit those freaks against the HR Giger conceived extra-terrestrials of our childhood favorite Aliens and there’d be a blue bloodbath with facehuggers and chestbursters scampering gleefully all over the place. Plus, Sigourney Weaver, as seen in Aliens, is buff — especially with a pulse rifle in her hands. As blue CGI in Dances with Smurfs? Not so much.

If this is one generation’s flagship badass versus another, we’d say the poor unfortunate kiddies that are being brought up on the likes of Crank are being drastically sold short by the R-Rated movie. When we were little it was absurdly over-the-top action goodness courtesy of former Governor Schwarzenegger that got our tiny hearts beating, and whilst Crank does utilize a slightly bonkers level of simulated of violence, when it’s delivered by a whiny cockney smart-ass like Jason Statham it just doesn’t cut the mustard.Arnie’s charms came from his one-liners, his expert wielding of rocket launchers and machine weaponry, his poise and his pure monosyllabic class as he rescues his daughter from that Australian bad guy with a ‘tache. Plus, in the case of 1985’s Commando, the levels of gore are so inherently Eighties — read: inherently exaggerated — it was never going to be knocked from its pedestal by some balding guy from London playing with a handgun or two.