The curiously conventional case of Benjamin Button

For the record, let me just say that it brings me no pleasure at all to tear into David Fincher's "The Curious Case of Benjamin Button." I've been an avid Fincher fan from the start, and I certainly don't want to begrudge him his moment in the sun, but I wish it could have come with something better than this debacle.

And yes, I know I'm certainly in the minority on this one. I've read the opinions of many people I trust, like Bob (who supposedly writes with a dude named Justin, though he never seems to say too much), who gave his glowing assessment here.

But for me, though it strives endlessly for charm, it too often just comes off as bland, and for that I blame screen writer Eric Roth as much as I do Fincher for turning what could have been a "eulogy for the 20th century" or any number of other grand things into a series of greeting card-inspired vignettes.

Now, in the interest of full disclosure, I thoroughly hate "Forrest Gump," and that's not a word I throw around lightly. It's just so treacly in all the worst ways, and though I tried to keep it out of my mind as I watched "Benjamin Button," the similarities are just all too painfully glaring.

To be fair, it starts out well enough. Brad Pitt brings a genuine spirit to F. Scott Fitzgerald's creation of an old man with the brain of a young child, and having him raised in an odd retirement home (by the always welcome Taraji P. Henson) allows for both a setting full of charm and the tricks of time I had been expecting (though I had seen a lot of this in the trailer and other clips, removing a big chunk of the magic.)

But even here it turns too quickly from Fincher's movie to Roth's, one in which every scene seems to begin in or end with an aphorism about as profound (and oft-repeated here) as "you can be anything you want to be." Much worse, it's a superficial world full of stock characters, from the seafarer who shows Benjamin the world (sound familiar?) to the kind and wise (shock!!) black characters who teach him to respect everyone he encounters.

And I would have more time for all of this if Pitt's performance didn't become more and more leaden as he begins to look more and more like, well, Brad Pitt. He just looks as bemused by that rather startling development as I was, and that robs what should have been a grand romance of most of its passion, even as Cate Blanchett does her usual best to give it a spark.

So, is it all bad? Certainly not. Along with the thoroughly charming beginning, it ends with something approaching the style I expected as Benjamin makes his appropriately traumatic return to infancy. And, despite my stated beef with Roth's characterizations, Henson's performance is as good as advertised (though, to be fair, I like her in just about everything, even the truly awful "Smokin' Aces.")

In the (way too long) middle, however, there's just wasn't nearly enough to keep me intrigued, so I have to regrettably call this one a noble failure. Like I said, I know I'm in the definite minority here, so please feel free to sound off and let me know just how wrong I am.

A real dark horse for a Best Actor Oscar

Thomas McCarthy's "The Visitor" is such an unassuming little film that I have to admit it sat in my house for a week before I could summon the desire to watch it, but now I'm certainly glad I did.

McCarthy, who directed the equally satisfying "The Station Agent" in 2003, may also be known to fans of "The Wire" as Scott Templeton, the Sun reporter with a very active imagination. Though that great show went more than a little off the rails in its final season, it was never his fault.

With "The Visitor," he has an able co-conspirator in Richard Jenkins in creating this tale of a man who has pretty much given up on life until he returns to his NYC apartment to find the titular "Visitor" there in the form of an illegal Syrian immigrant (Haaz Sleiman) and his Senegalese girlfriend (Danai Jekesai Gurira), though, as it soon becomes clear, Jenkins' Walter Vale is often the real visitor in this world of ours.

Though McCarthy has an occasionally heavy-handed tale to tell about what rights we have given up since 9/11 and the constant peril of living illegally in this country, his movie is much stronger when it just tells the tale of Walter and lets Jenkins jump completely into the role. Partly because of this absorption and partly just because my mind is slowly faltering, I must admit I had to check the closing credits to remember exactly what his name was (though of course we well know his face.)

As we meet Walter, he's a college professor who's been teaching the same one class for 20 years and has now been asked to present a report he only put his name on but no work into. Jenkins captures this detachment perfectly while at the same time moving us to cheer for him without ever becoming manipulative.

And it's a credit to McCarthy's slow-moving but constantly engaging story that he lets Jenkins' Walter be drawn out of his tough shell at a natural pace. Though I'm far too cynical to ever want to participate in anything as hippy-dippy as a drum circle, it's a joy to watch as the Syrian Tarek first teaches Walter to play the African djembe drum and later to even do so in public (and in the most joyous scene, belatedly in life discover the pleasures of Fela Kuti.)

McCarthy lays on the sentiment here but not quite as heavily as in another movie about immigration that's among my favorites from this year, Patricia Riggen's "La Misma Luna" ("Under the Same Moon"). Thanks to uniformly solid performances from his cast, rounded out by Hiam Abbass as Tarek's mother, it never seems anything but genuine and just manages to suck you in.

As for Jenkins, who most people might know from his work on "Six Feet Under" but also appeared this year in "Burn After Reading" as the gym owner who longed for the love of Frances McDormand (and, really, who wouldn't?), he's certainly turned in an Oscar-caliber performance here, but it's probably come in a year too crowded for him to even be nominated. If I had to pick it today, I'd have to guess the final five will be Brad Pitt for "The Curious Case of Benjamin Button," Clint Eastwood for "Gran Torino," Sean Penn for "Milk," Frank Langella for "Frost/Nixon" and Mickey Rourke for "The Wrestler." That final slot could also swing to another outsider, but it's not likely.

But "The Visitor," out now for a while on video, is still well worth checking out, for Jenkins' performance and a whole lot more. And Thomas McCarthy is certainly a director to keep your eyes on. Peace out.

An animated Best Picture nominee? Why the "Wall-E" not?

I'm always hopeful when I hear a major group of critics sharing the kudos love with animated movies, even if in this case it comes a year too late.

The Los Angeles Film Critics Association, usually a contrarian bunch, has just named "Wall-E" as its pick for Best Picture, with "The Dark Knight" as its runner-up. I think they'll end getting one out of two right in the end, with "The Dark Knight" snagging the final Oscar slot (If I had to pick it today, with the caveat that this is mostly a list of movies I haven't seen, I'd say the final five will be "The Curious Case of Benjamin Button," "Milk", "Revolutionary Road", "Slumdog Millionaire" and "The Dark Knight.") And if that is the final list, count me among the "Slumdog" supporters.

"Wall-E," however, certainly has enough charms to merit it at least being in the conversation, so thanks to the L.A. crew for that. The first 45 minutes or so of "Wall-E" are just the most enchanting kind of romance, and even if it does become more and more conventional as the story goes on, it's still often a very magical movie.

But like I said, the only problem I have with any of this is that it comes a year too late. Where were the critics when it came to hailing "Ratatouille," the best animated movie I've seen in many, many years, and my pick for the best movie of 2007?

My final five, if I remember this right, were in fact "The Savages", "Into the Wild", "Once", "Zodiac" and "Ratatouille." Of those five, I think "Into the Wild" stands the test of time the best, since I just watched it again the other day and loved it even more.

Though I have a slew of prestige pics to catch up on when I get the chance to hit NYC for the end of the year, I have to say that so far it looks like this year just doesn't measure up as well. So, in that void, why not a win for "Wall-E"?

A new (old) spy I've finally found, and a dastardly plot against "The Wizard of Oz"?

First off, a bit of news to digest (if you can).

Before I spill any bile on his vision, let me just say I like John Boorman a heck of a lot. Best known for "Deliverance" - which I don't think I'll ever be able to bring myself to watch again - and "Excalibur," I'd have to say I prefer to those "Hope and Glory" and, most of all, "The General." If you haven't seen this flick starring Brendan Gleeson as Irish robber Martin Cahill, I really can't recommend it highly enough.

Now, however, it seems that Mr. Boorman is more than a little deep into a CGI-animated adaptation of "The Wonderful Wizard of Oz." I'll let that sink for a second before I have anything at all to say about it.

I've included a shot of the concept art of Dorothy, courtesy of AICN (where you can see a heck of a lot more.) I had hoped until a few years ago that, even with all evidence to the contrary, there still were at least a few classic movies that were truly untouchable. Silly me.

Boorman, in fact, is far from the first person in recent memory to take on this magical saga, but it just might be the first one I'll give a chance to. If I have my info right, Todd McFarlane had been toying with a really sadistic take on the tale (no thanks!), and there was "Tin Man" on Sci Fi, which couldn't hook me even with the presence of Zooey Deschanel and Alan Cumming.

So, why give John Boorman a chance? Well, I've never read L. Frank Baum's original book (a rather serious shortcoming on my part), but from what Variety had to say about this Boorman is sticking closer to that work and will come up with quite a different tale from the original movie (can you imagine, for example, that the Tin Man was a munchkin? Wild.)

Besides, I have to confess that I had the pleasure of seeing "The Wiz" in New York when I was a kid, so I guess there really isn't anything that's all that sacred (but please keep your hands off of "To Kill a Mockingbird"!)

A late comer to the party with "Chuck"

I watch far too much TV already, so I'm always hesitant to commit to any new series just to have them snatched away just as I was getting into the game. It seems that "Pushing Daisies" may be gone after its 13-episode run ordered so far, and while I won't be terribly surprised, I will miss it dearly.

And it's that fear of TV commitment that kept me from ever tuning into NBC's "Chuck" despite mounting evidence that it was really, really good. Now, with two of my co-workers - Stephanie Hartley and Karen Ludwig - practically begging me to watch it, I've finally given in (and, to be as crude as possible, it has been a rather long while since a woman begged me to do anything, so how could I resist?)

Since everyone already has spies on their minds with Daniel Craig back as James Bond in "Quantum of Solace" (and I will indeed be checking that out this weekend, despite some really bad early reviews), I thought I'd offer a very late plug for "Chuck," which is much funnier and just plain fun than I ever would have imagined.

I'll be catching up on it this weekend thanks to Netflix, but if you think you can just picture a modern "Get Smart" starring slackers and a seriously hot Yvonne Strahovski as reluctant spy Chuck's (Zachary Levi) handler (no need to be crude there, people), you should tune in too (though most everyone who would like this is probably well into it already.)

And, though I promised the makers of the sensational documentary "In a Dream" that I would review it soon (and I will!), I'll just wrap this up with the latest TV spot for David Fincher's upcoming "The Curious Case of Benjamin Button" (because I really do have to get to what is still my paying job.) Enjoy, and have a perfectly pleasant Thursday.

Trailer trifecta: A glance at three I'm really looking forward to

If you would have told me several years ago that David Fincher would direct a bona fide "Christmas movie," I would have thought you were straight-up mad.

And I had my initial doubts that he would be able to do much with F. Scott Fitzgerald's odd tale "The Curious Case of Benjamin Button," about a man (Brad Pitt) who ages in reverse through the Twentieth Century. Judging from everything I've seen, however, including this lengthy new trailer, it indeed seems like he's come up with something that combines all his best touches with the crowd-pleasing scope of a holiday flick. Enjoy.



Since I've made little secret of just where I stand in this year's election race (and since I, frankly, don't really care who I might possibly offend), I finally decided to break down and get a Barack Obama "widget" for this site (and who came up with that crazy word anyway?).

I originally thought Oliver Stone's "W.", much like Michael Moore's movies in the past, would have a none-too-positive effect on the race, but with Bush so far gone in people's minds and this movie just looking more and more like such silly fun I now just can't see that happening. Here's the latest look at what Stone is cooking up, with the final product set to drop Oct. 29.



When I first heard what Baz Luhrman was attempting to pull off next, I can't say I was terribly excited. What in the world is a director with so much - for lack of a better word - flair doing making a movie in the dusty Australian outback?

I'm ready to be proven wrong once again. Nicole Kidman and Hugh Jackman star in this appropriately epic-looking tale about an English aristocrat (Kidman) who inherits a huge cattle station in Oz and joins forces with a stock-man (Jackman) to drive 2,000 head of cattle across hundreds of miles of the country's most unforgiving land during World War II. The "Casablanca" touch on the typography is more than a bit much, but count me there when this finally comes out Nov. 26.



And there you have it. Hopefully a little pleasant fodder for wasting some of your work day. Peace out.

Pixar's new short? It will be "Amazing"

This week in our movie summer is so bad that I'm just gonna have to pretend it doesn't even exist.

"Get Smart" vs. "The Love Guru"? The only loser here appears to be the viewer. I can't even look at Mike Meyers without wincing, and even with Steve Carell and the very funny Ken Davitian on board I just can't bring myself to watch yet another TV retread.

But, if you can wade through all that crap (or, as I'm recommending, just ignore it), we finally get "Wall-E," the latest from Pixar, usually the highlight of my movie summer.

I've made my love of Pixar clear here many times before. Though I found "Cars" to be amazingly boring for very long stretches, the simply sublime "Ratatouille" was my favorite movie of all of 2007. And, given just how cool it looks and since I'm a sucker for space odysseys, I'm sure that "Wall-E" is gonna be almost as good.

But, of course, one of the other dependable delights with Pixar flicks are the shorts, and it looks like they've come up with something truly cool this time around. Here's a synopsis for "The Amazing Presto," the short that will run in front of "Wall-E":

Dignity. Poise. Mystery. We expect nothing less from the great, turn-of-the-century magician, Presto. But, when Presto forgets to feed his rabbit one too many times, well, there's really no telling what to expect! This latest comical short film from Pixar Animation Studios follows the escalating high jinx of the amazing Presto, his rabbit Alec, and what happens onstage when a star magician's ego provokes some clever revenge from his neglected costar.

In my mind I'm already there, but for the time being, enjoy the photo above and the poster for the "picturette" at right.

A look at Spike's "St. Anna"

No matter how much he runs his mouth - and his latest verbal tussle with Clint Eastwood is indeed fun to watch - I'll always have nothing but tons of time for Spike Lee. His documentaries ("When the Levees Broke" and "Four Little Girls") are tremendous, and "Do the Right Thing" remains easily one of my favorite flicks. And if I could make one recommendation from his lesser-known flicks you can still probably get on DVD, "Get on the Bus" - about a group of guys headed to the Million Man March - is also well worth watching.

And now it does indeed look like Mr. Lee might finally get the awards season acclaim he's already deserved for many years with his upcoming "Miracle at St. Anna." Judging from the trailer, he's concocted a flick that's as epic as its subject matter - the story of four black American soldiers who get trapped in a Tuscan village during World War II - and wrapped it all up in a mystery to boot. Count this one along with "Burn After Reading" and "The Curious Case of Benjamin Button" as the main movies I'm really looking forward to this fall. Enjoy the trailer, and have a perfectly pleasant Tuesday. Peace out.

An early look at "The Curious Case of Benjamin Button"

I was all set to write a rant about how there's another f-ing strike on the horizon - with the Screen Actors Guild's contract set to eclipse June 30 - but I really just can't bring myself to deal with such nastiness on a Friday morning.

There's also news out there - actual and simply rumored - about NBC's upcoming "The Office" spinoff. First the actual: The showrunners have made their first casting hire, comedian Aziz Ansari, who apparently stars on some MTV sketch comedy show I've never seen called "Human Giant."

Much more exciting is the simply rumored news that Rashida Jones - a k a Karen Filippelli - will soon be joining the new cast too. All we know so far is that she's signed a "talent holding" deal with Universal, which is producing the show. What in the world would they be paying her for except to join this new venture?

I certainly hope that comes to be, but in the meantime I'm even more excited today about this teaser trailer for David Fincher's fall flick "The Curious Case of Benjamin Button," based on a F. Scott Fitzgerald tale about a man who ages in reverse through the twentieth century. Everyone probably already knows that Brad Pitt is the titular Mr. Button, but this one also stars Cate Blanchett, Tilda Swinton, Julia Ormond and one of my very favorite actresses, the great Taraji P. Henson (a k a Shug from "Hustle & Flow.")

I just love Fincher pretty much unconditionally, and the premise sounds great, so I'd have to list it as the one flick I'm most looking forward to this fall. Enjoy the trailer, and keep your fingers crossed that M. Night's latest offering doesn't just suck as hard as I'm now fairly certain it will. Peace out.

Take heart: There are indeed good movies in sight!

I really can't remember a worse beginning to a movie year than we've had so far in 2008.

I was really hoping Kimberly Peirce's "Stop-Loss" would lift us up out of the muck, but with its thoroughly cliched characters and meandering storylines it just couldn't do it. That makes exactly one movie I've loved almost unconditionally - Michel Gondry's "Be Kind Rewind" - in wide release so far this year. Man is that depressing.

But, of course, summer is just around the corner, which means Iron Man, Indy and a whole lot more fun. And I do have somewhat high hopes for Clooney's "Leatherheads" and slightly lower ones for Scorsese's Stones doco "Shine a Light," both supposedly opening wide this week (though as of yet I see no proof of Scorsese's flick hitting Macon.)

Today here, however, it's all about the fall, when the studios unveil the big guns for awards season. And frankly, surveying the field, it looks like it's once again the Coen Brothers' race to lose (how cool would it be if they actually managed to win back to back Best Picture kudos?!?) So, here's a look at some of the big contenders you'll see hitting your multiplexes come September:

(Brief aside: As I write this I'm listening to Bettye LaVette's album with the Drive-By Truckers, "Scene of the Crime." If you like Southern soul and blues music at all, it just doesn't get any better than this .. OK, I'm back now.)

Sept. 12: "Burn After Reading"
Why not start out with the reigning champs? The Coens' latest will star not only George Clooney and Brad Pitt, but also Tilda Swinton (pretty much a guarantor of kudos), John Malkovich and Frances McDormand (huzzah!). Here, as far as I can tell, is the rather twisted plot summary: Malkovich will play a CIA agent who, after getting fired, writes an inflammatory memoir. The disc containing it is stolen by his soon-to-be ex-wife, played by Swinton, who then accidentally leaves it at the gym, where it falls into the hands of a trainer (Pitt) and the gym owner (McDormand), who want to use it to blackmail Malkovich. Throw in Clooney as a CIA agent investigating all this mess, and I can only say bring it on.

Sept. 12: "The Duchess"
It seems like I've been seeing the trailer for this since last summer, and it just looks like nothing more than the most bland kind of period piece, but here's hoping I'm once again wrong. Starring Keira Knightley and Ralph Fiennes, it is based on Amanda Foreman's biography of the scandalous 18th-century English aristocrat Georgiana Cavendish, Duchess of Devonshire. I can only assume that Knightley plays the duchess, but it might be slightly more interesting if the reverse were true.

Sept. 19: "Blindness"
Though I've made it clear there's nothing but mad love for the Coens around here, if I had to pick one single favorite director it would be Fernando Meirelles, and now he's finally back again. In what I'm hoping will be a return to smart science fiction on the big screen, Julianne Moore will play the wife of a doctor (the great Mark Ruffalo) who finds she is the only person who can see in a world where everyone else has gone blind. She feigns illness in order to take care of her husband as her surrounding community breaks down into chaos and disorder. I'll probably have to wait until like December to see this out here in the hinterlands, but I'm still rather jazzed for this.

Oct. 3: "Valkyrie"
Tom Cruise and Bryan Singer's World War II epic has been pushed back from a summer release to make time for the shooting of a crucial battle scene, but presumably also to put it squarely in the middle of awards season. This one, about a German soldier (Cruise, of course) who launched a plot to assassinate Hitler, represents a reteaming of Singer and screenwriter Christopher McQuarrie, the team behind "The Usual Suspects," so it should be great.

Oct. 10: "Body of Lies"
In another high-profile reunion, Russell Crowe is back with director Ridley Scott, and Leo DiCaprio's on board too, for this second CIA flick of the season. In what should be a much more somber (and probably less fun) movie than the Coens', DiCaprio will play a CIA operative who is sent to Jordan to find a high-ranking terrorist and forms an uneasy alliance with the head of Jordan's covert operations.

Oct. 25: "Flash of Genius"
If it has the fun spirit of "Tucker," which it certainly looks like it could, I think this could be the sleeper hit of the Fall (and not just because it means - finally - a prominent role for Lauren Graham!) Greg Kinnear will play Robert Kearns, a Detroit engineer who claimed the auto industry stole his idea for the intermittent windshield wiper, and Graham will play his wife.

Nov. 14: "Australia"
Is Baz Luhrmann really going to manage to finish his first movie since 2001's "Moulin Rouge"? Given all that I've read about trouble on the set, I have my doubts, but if he does it promises to be a typically ambitious project. Nicole Kidman will play an English aristocrat who inherits a large cattle ranch in northern Australia prior to World War II. To save her inheritance from cattle barons she joins forces with a cattle-driver (Hugh Jackman) to drive her 2,000 head of cattle across the country just as the Japanese start to bomb the continent. This could be either epicly good or awful, but I seriously doubt it will be boring.

Nov. 26: "The Road"
After the success of "No Country for Old Men," it indeed seems like we'll be stuck with Cormac McCarthy's works on the big screen for a while, which will probably be a good thing. Ridley Scott has his eyes on "Blood Meridian," but before that John Hillcoat will director this Oprah-approved McCarthy work about a father and son who journey together for many months across a post-apocalyptic landscape that was once the United States, some time after a great, unexplained cataclysm. The big names for this one are Charlize Theron, Viggo Mortensen and, in a welcome return, Guy Pearce.

Dec. 5: "Frost/Nixon"
Peter Morgan adapts his own play about David Frost's famous TV interviews with Richard Nixon for director Ron Howard. Though I have my doubts about Howard, you can't knock the casting for this one: Michael Sheen (Tony Blair in "The Queen") is Frost and, in the leading contender for next year's Best Actor Oscar, Frank Langella is Nixon.

Dec. 12: "Seven Pounds"
I couldn't bring myself to see "The Pursuit of Happiness (yes, I insist on spelling it right!)", and I'll probably skip this Will Smith-Gabrielle Muccino collaboration too unless I hear tremendous things about it. In the flick, Smith plays a man who "will change the lives of seven strangers." Yep, I can tell already that I'm gonna just have to skip this one.

Dec. 19: "Revolutionary Road"
In what essentially sounds like "American Beauty" set in the 1950s, Sam Mendes will direct wifey Kate Winslet and Mr. Dicaprio in this flick. The duo play a husband and wife who grow bored of their lives in the Revolutionary Hill Estates, and eventually tear each other and their marriage down. Sounds cheery, eh? I didn't really care too much for "American Beauty," so I can only get mildly excited about this redux.

Dec. 19: "The Curious Case of Benjamin Button"
This time I have indeed saved the best for last, because I think David Fincher's next flick will be a real dark horse contender come awards season (and surely one of my favorite flicks of the year.) In the flick based on a F. Scott Fitzgerald work, a man (Brad Pitt) is born in Baltimore (huzzah!) in 1919 at the age of 80 and ages backwards through the 20th century. Cate Blanchett is also on board as a woman he falls in love with round about the time he hits age 30. Here's what Fincher himself has to say about this promising project: "It's dark, it's romantic, and it also deals with mortality in a pretty unflattering way. The guy is born in 1919 - with the film itself beginning in World War I, traveling around the world and carrying on all the way through to the year 2000." Simply cool.

And there, for anyone brave enough to stick it out to the end of all that, you have it. Definitely plenty to look forward to in the next awards season. Peace out.

Paramount's 2008 lineup: The winners and stinkers

Even though I'm cautiously optimistic that "The Golden Compass" will live up to my lofty expectations, I'd rather not talk much about that until I get to see it in a couple hours.

Instead I'd love to dish on what's coming next year, which, judging from Paramount's slate, looks like mostly a lot of fun. Here's a look at what the studio has coming up next year:

January 18: Cloverfield
Even in the capable hands of scribe Drew Goddard, this one just has "Snakes on a Plane"-like box office potential as far as I can tell. At the very least, I was happy to hear this won't be a "Blair Witch" affair: We do indeed get to see the giant monster that attacks NYC.

February 1: Strange Wilderness
Steve Zahn and Jonah Hill are very funny guys, so I'm hoping this is a lot less "Daddy Day Camp"-esque than it looks on the surface. In the crude comedy, Zahn and sidekick Allen Covert host a wildlife TV show that's in ratings decline. What can save it? Bigfoot, of course.

February 15: The Spiderwick Chronicles
I went from mildly interested in this fantasy offering to truly psyched when I found out the screenplay was written by John Sayles, who created one of my favorite "children's" movies in "The Secret of Roan Inish." In the story, two brothers and a sister investigate the strange happenings that unfold after the family moves into a secluded old house owned by their great, great uncle Arthur Spiderwick. Seth Rogen somehow figures into this, though I would have to assume not as one of the young siblings.

March 21: Drillbit Taylor
Getting revenge on bullies has to be one of the oldest (and, frankly, most tired) gambits in the movies, but I still can't help hoping this one is going to be genuinely funny. When you've got Owen Wilson as a former soldier of fortune hired to be the schoolyard enforcer, something funny just has to happen, right?

March 28: Stop-Loss
I'm still waiting for a movie about the Iraq War that delivers as much entertainment value as it does politicking, and just maybe this one will be it. You're heading in the right direction when you cast three of my favorite actors in Joseph Gordon-Levitt, Ciaran Hinds and Timothy Oliphant ("Deadwood"'s sheriff Seth Bullock.) In director Kimberly Pierce's flick, a decorated Iraq war hero (Ryan Philippe, I believe) returns home to Texas and tries to rebuild his civilian life, only to find he's called back to active duty much sooner than expected.

April 4: Shine a Light
Though Martin Scorsese has made some truly remarkable music documentaries, I just can't get too excited about this one focusing on two concerts by the Rolling Stones. Why? Well, they were already very old when I was in college, and since that was a good while ago, they're obviously just geriatric now, and very hard for me to watch without cringing.

April 11: The Ruins
What is it about flicks where Americans get into trouble just by leaving the country? Is it really all that dangerous to travel these days? In this latest one, a group of friends on holiday in Mexico accompany a fellow tourist on a remote archaeological dig in the jungle, where something evil (of course) lives among the ruins.

May 2: Iron Man
With these next two flicks, I think Paramount might just have the strongest summer slate, Dark Knight be damned. Robert Downey Jr. should make a great Tony Stark, and the supporting cast with Terrence Howard (man, does this guy like to work), Gwyneth Paltrow and Jeff Bridges ain't too shabby either.

May 22: Indiana Jones and the Kingdom of the Crystal Skull
Count this as the single summer flick I'm most excited about. Though a visitor to this site (and forgive me please that I can't remember just who) warned me that George Lucas had commandeered the screenwriting reins for this one, which would be simply craptastic, two dudes named David Koepp and Jeff Nathanson are still listed as the scribes, so maybe there's hope. All plot details for this are under tight wraps.

June 6: Kung Fu Panda
I have to admit that, as silly as this animated flick sounds, those little critters doing kung fu were pretty infectious in the trailer. Jack Black is the voice of Po, a rather lazy and rotund panda who's called on to save the day after he is, of course, christened as the chosen one. Black should at least be very funny in this.

June 20: The Love Guru
Mike Myers usually seems to pick his comedies carefully, but I just don't see how this can turn out to be anything but awful. Myers is the titular guru who's called in to repair the estranged marriage of professional hockey player (Romany Malco) so he can get back into top form on the ice. Verne Troyer is apparently in this one, so at the very least we can expect more than a few more midget jokes, if that's your thing.

July 11: Tropic Thunder
If you believe the tabloids (and they do occasionally get things right), it was on the set of this Ben Stiller comedy that things started to go wrong for Owen Wilson, as he started partying too much with funnyman and co-star Steve Coogan. Whether that's true or not, Wilson had to drop out, but still leaves a pretty impressive cast in his wake, including director Stiller, Jack Black, Robert Downey Jr., Coogan, Bill Hader and Jay Baruchel of "Knocked Up" fame. In the flick, a group of actors find themselves somehow thrown into a "real, warlike situation." It's possible that this scenario was funny when it starred Larry the Cable Guy, but I have to say I didn't bother to find out.

August 8: Eagle Eye
I just immediately have to be skeptical about any flick in which Shia LaBoeuf somehow gets framed as a terrorist (along with either Michelle Monaghan or, even better, Rosario Dawson, so maybe there's hope.) D.J. Caruso directs this one.

August 22: Case 39
Well, we made it this far (I think) without a Renee Zellweger sighting, but I guess it had to happen eventually. In this flick she plays a social worker who saves an abused 10-year-old girl (Jodelle Ferland) from her parents only to discover that the girl is not as innocent as she thinks. At least the great Ian McShane factors into this one somehow.

September 26: Nowhereland
An Eddie Murphy comedy that's actually funny? Not likely, but we can still dream, right? In this one he plays a financial executive who's invited into his daughter's imaginary world, where he just might find solutions to halt the downward spiral of his career (the executive's or Murphy's? You decide.)

Fall 2008: Ghost Town
Judging from the title of this one I would have assumed it was just one of those bad "horror" flicks that studios dump out at the end of summer, but it's actually a comedy starring Ricky Gervais. In the directorial debut of "Indy 4" screenwriter David Koepp, Gervais plays a dentist who has a near-death experience during routine surgery and gains the ability to see dead people who ask him for help in contacting the living.

Nov. 7: Madagascar: The Crate Escape
Even it did spawn way too many domestic-animals-in-the-wild flicks (and rip the idea off from a few predecessors too), I thought the first Madagascar movie was a hoot, especially those silly penguins, so this should be fun.

Nov. 26: The Curious Case of Benjamin Button
Even more than "Indy 4," you can count this as the Paramount movie I'm most psyched for next year. David Fincher (resounding huzzah!) takes on the F. Scott Fitzgerald tale about a man (Brad Pitt) who is born in his eighties in 1918 and ages in reverse through the 20th century. Taraji P. Henson of "Hustle & Flow," one of my favorite young actresses, figures into this one somehow too.

Dec. 19: Revolutionary Road
For as long as I've been hearing about this one I just assumed it was coming out at the end of this year rather than next. Sam Mendes directs this tale of a young couple (Leo DiCaprio and Mendes' clearly better half, Kate Winslet) living in a Connecticut suburb during the mid-1950s who struggle to come to terms with their personal problems while trying to raise their two children.

Dec. 25: Star Trek
I have to confess that the whole Star Trek thing is just a tremendous chink in whatever geek armor I still possess. I just never got into it, in any variation, but I'd never knock anyone who does (and there are clearly more than a few of you out there.) All I really know about this is that it's apparently the rather amazing 11th Star Trek flick, it's being directed by J.J. Abrams, and that Zachary Quinto (Sylar on "Heroes") does make a very convincing Spock.

TBA: A Tale of Two Sisters
OK, last one (finally!) and it sounds really odd. In a remake of a Korean horror flick, the rather alluring Elizabeth Banks (who will be making a "porno" with Seth Rogen for director Kevin Smith too) is the cruel stepmother of two sisters who return home from a mental institution. Sounds pretty darn far from my cup of tea.

And there you have it. Feel free to tell me which Paramount (and non-Paramount) flicks you're most excited about for 2008. I'll leave you with this fairly freakin cool pic from "Speed Racer." I'm still more than a little skeptical that this Wachowski brothers flick will be anything but crap, but judging from this pic it should at least look pretty astounding. Peace out.