Thursday fun, of Clint Eastwood, baseball and Marilyn Monroe, too

Actually, before we get into any of that, Fox really knows what it's doing with "The New Girl," the only new sitcom I've committed to watching every episode of (though I caught No. 2 of "Suburgatory," and that was pretty wickedly funny, too.)

I'm not talking about replacing "the black guy" after only one episode with another one, but instead realizing that the reason people tune in is to see smart, funny women clearly having a lot of fun.

It starts with Zooey Deschanel, of course, and she's been a trooper so far, and now they're wisely adding "Party Down" star Lizzy Caplan for a three-episode arc, hopefully beginning very soon.

She will, of course, play the love interest of one of Jess' seriously douchetastic roommates, but having her back on TV at all is indeed reason to, if you'll excuse me for saying it, "Party Down" (especially since that show is truly dead and gone ... forever.)

But the best news I came across this morning was that with the, well at least relative, success of "Moneyball," there's going to be at least one more potentially great baseball movie coming, which will hopefully continue that welcome trend.

Clint Eastwood said his turn in front of the camera in "Gran Torino" would be his last acting gig, but it seems he's taken to that retirement vow about as well as Brett Favre did the first few times. As for "Gran Torino," I really didn't get it the first time I saw it, but despite it's almost thorough lack of subtlety (even by Eastwood's standards), it's a pretty darn fine little flick.

And now, perhaps as a favor to his longtime assistant director, Robert Lorenz, Eastwood is set to star in Lorenz's full directing debut, "Trouble With the Curve." The baseball flick will be about a baseball scout (Eastwood) who is losing his vision with his age. He and his daughter take a final road trip to Atlanta to check out a prospective talent.

That, frankly, sounds like a heck of a lot more fun than Eastwood's upcoming directing effort, "J. Edgar" on Nov. 9, and the world is certainly a better place with more baseball movies in it, so stay tuned for more on this whenever I can find it.

And finally today, in an admittedly short report, where better to leave things than with Michelle Williams as Marilyn Monroe in the upcoming movie "My Week With Marilyn"? Even in this trailer, you can tell that, along with nailing Marilyn's look just about perfectly, this will, not surprisingly, be another nuanced performance from Williams. The movie, set in England during the filming of "The Prince and the Showgirl," tells the story from the perspective of her lovestruck young assistant as Marilyn worked with Sir Laurence Olivier (Kenneth Branagh) in the movie and also happened to be on honeymoon with her husband, Arthur Miller (Dougray Scott), at the time. Juicy stuff, so if you're lucky enough to live in a "limited" market, keep an eye out for this one on Nov. 4. Peace out.

A Wednesday clip show, with the Swell Season, J. Edgar and more

Actually, before we get into any of that, there's a bit of news out there this morning, starting off with an "Arrested Development" reunion of sorts ... but no, of course not the one fans have been waiting for.

I'd certainly advise not, if you ever were, holding your breath for any kind of "Arrested Development" movie any time, well, ever, but the entire cast is apparently coming together at the New Yorker Festival for "A Bluth Family Reunion."

If you're lucky enough to be in in NYC, definitely try and snag a ticket for this Oct. 2 event (they go on sale at noon today at the New Yorker's website) that will indeed feature Will Arnett, Jason Bateman, Michael Cera, David Cross, Portia de Rossi, Tony Hale, Alia Shawkat, Jeffrey Tambor, Jessica Walter and series creator Mitchell Hurwitz. Color me jealous.

And along with an "Arrested Development" movie, another thing that I'd like to see that now probably won't happen, or at least not in any form worth watching, is a "Bad Santa 2." I'd think more antics involving Billy Bob Thornton's truly foul Father Christmas, the even funnier Tony Cox and hopefully Lorelai Gilmore too would be an easy sell, but writers Glenn Ficarra and John Requa have apparently spurned an offer to do that for something else that could be a lot of fun.

Jumping on an idea from Steve Carell, they've apparently, according to Moviehole, already written the script for "one of these three friends from college, but now they’re in their 40s, movies. They’re going on a European backpacking trip that they never did. And it’s filled with all this middle-aged fun.”

Actually, sounds like exactly the dreadful kind of dreck that would star John Travolta and Tim Allen, but these are some seriously funny writers, so I'll keep an open mind. Stay tuned ...

And in the last bit of news, you can always sell me on Jeremy Renner in a good heist movie, so here's hoping this will be another one. In "King of Heists" (the movie's got to be better than that title, at least), based on the nonfiction book by J. North Conway, he's set to star as the mastermind of "the greatest bank robbery in American history," which took place on October 27, 1878, when thieves broke into the Manhattan Savings Institution and stole nearly $3 million in cash and securities — around $50 million in today’s terms.

OK, now on to the clips, and there's certainly no better place to start than with the first and only trailer I know of for what should be a truly sweet little music documentary about the Swell Season, aka the duo of Glen Hansard and Marketa Irglova. If those names sound at least vaguely familiar to you, they should, since they were the stars of John Carney's thoroughly charming little romance "Once," which you should rent immediately as soon as you can find it. The doco charts their own path from true-life romance to the Oscars and more, and it should be well worth watching if you're lucky enough to catch this when it comes out in October. Enjoy the trailer.



Next up indeed comes the first full trailer I know of for "J.Edgar," director Clint Eastwood's upcoming biopic on the first FBI director with the rather colorful personal life. I've made my distaste for many of Eastwood's directing efforts clear in this space before, so I can't help but thinking in watching this that it's going to be plenty broad, but not much more than skin deep. And besides, with that aging makeup, Leo DiCaprio just looks creepy. It does, however, have a script from "Milk" scribe Dustin Lance Black, so I'd love to be proved wrong when this comes out Nov. 9. Enjoy the trailer.



Coincidentally enough, I have "Rumble in the Bronx" sitting on my DVR, probably for watching tonight. That's the last Jackie Chan movie I can remember just loving unconditionally, and really the last one in which he hasn't seemed to play some silly form of spy/babysitter/supercop hybrid. The trailer below, on the other hand, for a movie titled "1911" which he apparently co-directed, promises something more serious and hopefully still fun, too. A historical epic about the founding of the Republic of China, it's set to open in at least some American cities on Oct. 12, so keep an eye out for it, and enjoy the trailer.



OK, shifting a bit to TV, the MTV Movies site has a short interview with "Games of Thrones" producers D.B. Weiss and David Benoiff from the Emmys red carpet, and while it doesn't reveal much about season two, I'm certainly jonesing for it, so I'll take what I can get. Since season one was so entirely, but still very entertainingly, by the first book by George R.R. Martin, I've avoided reading any more of the books so I can be surprised from here on out. When will we get a season two on HBO? All I know is next spring, but hopefully by March or so. Bring it on already!

Get More: Movie Trailers, Movies Blog

And finally today, though I haven't watched "Today" in any form except on "The Soup" for about 25 years or so, I'm a sucker for any interview with the truly inspiring Roger Ebert, so enjoy this interview he did with Matt Lauer to promote his new memoir, "Life Itself." There's not much I can say about this that Roger himself doesn't say much better, so I'll just leave it at that. Enjoy the clip, and have a perfectly passable Wednesday. Peace out.

Visit msnbc.com for breaking news, world news, and news about the economy

P.S.: If you really made it this far, you certainly deserve a reward, so here goes: NPR is streaming the new Wilco album "The Whole Love" here, and it's well worth a listen.

Movie of the week: "Gran Torino"

I suppose this is a rather un-American kind of thing to say, but as a director, Clint Eastwood has never been one of my favorite filmmakers.

My big problem with his movies is he decided very early on that he would make subtlety his archnemesis (and don't even get me started on what he did with one of my favorite boxing books to make that "Million Dollar Baby" monstrosity.)

He's back in theaters this week with "Hereafter," and like many of his recent movies, it deals with nothing less than life, death and what might just come after. I'm on the fence about going to see it because it all looks awfully hokey, but I'll probably break down and give it a chance Sunday afternoon.

Here today, however, it's all about one of his recent movies that bucked his hamhanded tendencies and has therefore lingered in my mind for a long time, 2008's "Gran Torino."

As his final role in front of the camera (and to his credit, Eastwood has stood by that claim so far), his role here at first seems like an odd choice to go out with. Walt Kowalski is pretty much the curmudgeon's curmudgeon, an angry old man who time has clearly left behind while at the same time surrounding him with faces that all look very foreign and frightening to him. In anyone else's hands, this role, still hard to watch as it is, would be simply cringeworthy as we watch Walt hurl the most bitter of racial epithets at the Hmong neighbors who have taken over his suburban Detroit neighborhood.

And though we know going in that this will be about Walt's rocky road to redemption, what ultimately makes this movie as surprising as it is entertaining is that it's all handled with grace and as a comedy of manners (or often lack thereof) that goes down smoother and smoother as the movie goes along.

For anyone who missed out on this (and it's well worth a rental, and I believe is still lingering on some Redboxes around town), Eastwood's character slowly develops into what could have been a caricature of his "Dirty Harry" persona but still mostly works as a testament and coda to his long acting career as Walt is forced to come to the defense of two of his young Hmong neighbors who are terrorized by a neighborhood gang.

Within this simple template, Eastwood's tale goes in many different directions. It's in large part a meditation on violence, which in Eastwood's best movies always has very real consequences, but what makes it all so watchable is that he never lets the movie move much beyond what it ultimately is: A very polished B movie about the power of vengeance and what happens when you succumb to it.

And in the end (or at least until the very end), Eastwood's "Gran Torino" is most remarkable for what I usually find to be his directorial efforts' greatest faults: The subtlety with which it delivers the can't-we-all-just-get-along message at its core. It's this that makes "Gran Torino" not only one of the best movies of 2008, but also one of the very best of Eastwood's very long and still going career.

Free and funny? Two of my favorite things

Actually, before I get into that, now that Joaquin Phoenix's sabbatical from acting appears to be over and his "I'm Still Here" freakout exposed as a hoax (albeit, from what I've heard, a very entertaining one), it's good to know he's quickly going to jump into things that should be fascinating.

First up, if some financing issues are resolved, will be an indie oddity titled "Big Shoe," about a foot fetishist (Phoenix, presumably) who doubles as an amazing footwear designer. Ingenue Mia Wasikowska, who has yet to make a movie I haven't liked quite a bit (especially the Southern drama "That Evening Sun," out on DVD now, so watch it already), has been cast as the female lead in this craziness.

Sound like an odd subject for a feature film? Well, it comes from director Steven Shainberg, who has been missing for about five years, but when he makes movies enjoys rather lurid subjects. He made his debut with the S&M flick "Secretary" starring Maggie Gyllenhaal, and also made "Fur: An Imaginary Portrait of Diane Arbus," which starred Nicole Kidman and Robert Downey Jr.

Here's hoping that somehow comes together, but more likely and even better would be if he takes the part that Clint Eastwood has reportedly offered him in Eastwood's upcoming J. Edgar Hoover biopic.

With a script from "Milk" scribe Dustin Lance Black and Leonardo DiCaprio hired to play Hoover, this was already shaping up to be pretty great, but now with Phoenix being offered the role of Hoover's protégé and reputed paramour Clyde Tolson, who was Hoover's longtime associate director of the FBI, it just gets much better.

It's a fascinating subject now apparently to be paired with an equally great cast, so this 2012 flick is definitely one to keep your eyes on.

OK, now on the titular offer of free and funny, which comes in two doses (actually, I suppose the latter is actually more cute than funny, but it's still pretty great.)

First up comes the new Louis CK standup flick "Hilarious," which fortunately both lives up to its boastful title and is being streamed for free at Epix. I've watched about half of it so far, and even if CK's often morose humor isn't for everyone, it certainly is for me, and this is really good stuff. To see it, go here and sign up by entering your e-mail (yes, you have to), and then enjoy.

And finally today, what OK Go is doing with music videos is really something not to be missed. The band's actual music is just the breeziest brand of pop, but as visual artists, they clearly put a lot of effort in to their work and have a lot of fun doing it.

If you've never seen their giant Mousetrap game video for the song "This Too Shall Pass," I've included that too at the end, because it really is a pretty amazing visual feat (and apparently all real - no computer tricks.)

But first up comes their new video for the song "White Knuckles," which, while not as visually ambitious, is guaranteed to make you smile. It features an adorable and remarkably trained cast of rescue dogs doing all kinds of tricks on cue. And, best of all, OK Go is donating a portion of any profits they make from this to the ASPCA. To learn more about that, go here. Enjoy the videos, and have a perfectly bearable Wednesday. Peace out.

Thumbs way up ... Ebert's "At the Movies" coming back to life!

I never should have believed that, having survived the cancer that robbed him of his natural voice, a simple cancellation by Disney would be enough to keep Roger Ebert or "At the Movies" down.

Indeed, as announced appropriately enough in the Chicago Sun Times, "Roger Ebert Presents At The Movies" will be coming to PBS - where Ebert and the late, great Gene Siskel got their TV start way back in 1975 - in January, and he's lined up two fantastic hosts. The show will be hosted chiefly by the Associated Press' Christy Lemire and NPR's Elvis Mitchell, with further contributions from Kim Morgan and Omar Moore.

Though by force we mostly run reviews by Roger Moore in the newspaper that still pays my bills (although he's a very good writer, the "by force" is that he's also very fast and we have an early deadline), I always try and wait to get my hands on Lemire's reviews, because she always delivers strong opinions with a hearty splash of wit. I also like that, as you'll see from the preview clip below, she's a woman who both rails against by-the-numbers romantic comedies but embraces great female directors like Nicole Holofcener, while at the same convincingly raving about odd choices like "Piranha 3D" and "The Last Exorcism."

As for Mitchell, I haven't kept up with his work like I should recently, but I used to love his writing for The New York Times. Together, as you'll again see in the preview below as they discuss Holofcener's "Please Give," which I haven't had the pleasure of seeing yet, they have a natural banter that, while not quite Siskel & Ebert caliber, should at least make them worthy successors.

Perhaps best of all, Ebert will be appearing with his computer voice in a weekly segment called "Roger's Office," most often, I'd have to guess, giving his thumb's up to movies that otherwise wouldn't get much play at all anywhere on TV. Here's what Roger himself had to say about the new endeavour:

"This is the rebirth of a dream. I believe that by returning to its public roots, our new show will win better and more consistent time slots in more markets. American television is swamped by mindless gossip about celebrities, and I'm happy this show will continue to tell viewers honestly if the critics think a new movie is worth seeing."

One definite advantage of returning to PBS (assuming the yarnheads at GPTV are smart enough to pick this up) is that it should have a set air time each week, something the show was often sorely lacking when it was handled by the Tribune company and then Disney.

Definitely keep an eye out for this starting in January. I know I will, because "Sneak Previews" with Siskel and Ebert debuted when I was 5 years old, and I've enjoyed Ebert's insightful and always entertaining reviews ever since (or at least since I was old enough to understand them.) Enjoy this preview for the new show, in which Lemire and Mitchell dish on "Iron Man 2" (solid thumbs down, and I heartily agree) and "Please Give" (a split decision), and then feel free to stick around for a couple more videos that caught my eye this morning.



OK, if something this mawkish-looking were coming from, say, M. Night Shyamalan, I'd probably just say no immediately, but I'd say Clint Eastwood has at least earned the benefit of the doubt by now. And besides, I've seen his last flick, "Gran Torino," three times now, and it just keeps getting better each time. As you'll see from this first trailer, Eastwood's next flick, "Hereafter," stars Matt Damon as some kind of reluctant psychic and deals with all kinds of weighty life-and-death issues (hey, it is fall, right?). Enjoy the clip and keep an eye out for "Hereafter" beginning in at least some cities Oct. 22.



And finally today, a dose of silliness that's just about right for a Saturday morning (even if it's a Saturday on which I have to work - nards.) I've said here plenty of times before that Joseph Gordon-Levitt is an actor I'd watch do just about anything, and he certainly puts that to the test by performing Lady GaGa's "Bad Romance" for his Hitrecord.org cohorts. It's actually pretty darn good, and guaranteed to at least make you smile a little, which is really the right way to leave things today. Peace out.

Warning: This is one movie I'm gonna be seriously obsessed with for the next year or so

OK, I get way too obsessed about movies that won't come out for a long while around here far too often, but you can officially pair this one with Danny Boyle's "127 Hours" as the two I'm most looking forward to in the somewhat near future.

Clint Eastwood has just signed on to direct the biopic of J. Edgar Hoover that is being developed by Brian Grazer and Ron Howard's Imagine Entertainment, from a script by "Milk" scribe Dustin Lance Black.

When I first heard that news, my first thought was wouldn't it be fun if Dirty Harry played Hoover, but of course he's far too old by now. It certainly would have been amazing, though. As for who can do it now, Billy Crudup did a much more than passing job in Michael Mann's rather criminally underrated "Public Enemies," so he should certainly be a candidate, but my money would be on them going with a relative unknown to play at least the young Hoover.

As for the subject himself, there can't be many more fascinating - albeit widely reviled - figures of the 20th century, on the one hand creating the FBI and taking on all kinds of gangsters while on the other hand, well, apparently cross-dressing at homosexual orgies (not that there's anything in the world wrong with that.) A complicated dude to say the least, and after what Black did with the life of Harvey Milk, I'm confident he's given this the full treatment it requires.

And, frankly, I have to admit that Eastwood's never been one of my favorite directors, mostly due to his complete aversion to subtlety. That said, I've seen "Gran Torino" three times now and like it more each time (though, and if you still haven't seen this but want to, PLEASE SKIP TO THE NEXT PARAGRAPH, did he really have to die in the shape of a cross? Sheesh.) I'm fairly certain the man has at least one more great movie in him, so here's hoping this is it.

In much lighter and hopefully funnier news, though I gave up actually smoking pot at least 15 years or so ago (though mi hermano and I tried it during a stop in Amsterdam during the 2006 World Cup, just to make sure I never need to again), I've always loved stoner movies, and I think I always will, especially with this cast.

Jason Segel of "How I Met Your Mother" (and, of course, "Freaks and Geeks," which I try to mention at least once every day) and Ed Helms of "The Office" have signed on to star in "Jeff Who Lives at Home," a stoner comedy from the Duplass brothers, Mark and Jay, which will begin shooting next month in Louisiana.

The flick chronicles a day in the life of two brothers, one a stoner who lives at home (Segel, natch) and the other a dude who has things more together but is very overbearing (Helms, natch again.) Just in case that wasn't enough funny for you, Judy Greer is about to join in too as Helms' character's wife. Nice.

Like I said, I'll always be hooked on good stoner flicks, so certainly count me in for all of that. And all I have after that today is a trio of videos (actually, that's not quite true, because some genuine "Mad Men" madness turns up at the end too.)

First up comes the music video for the Runaways' song "Cherry Bomb," performed by the movie's stars, Dakota Fanning and Kristen Stewart. Actually, I have no idea if Stewart actually learned to play the guitar, but that's certainly Dakota singing, and as anyone who's been here before knows, you can count me as being in the camp that thinks "The Runaways" is somehow not going to completely suck when it finally comes out April 9. Enjoy.

Dakota Fanning featuring Kristen Stewart - New Music - More Music Videos

You know, I've met more than a few Canadian people in my already fairly long life, and I say this with the utmost respect and kindness, but Canadians really are some odd birds. Just in case you needed further proof, check out this trailer for "Suck," which unfortunately looks like it will live up to every ounce of its title's promise. It does, however, somehow star Iggy Pop, Henry Rollins, Alice Cooper and, yes, even, Moby, so it's at least worth watching the trailer. Not too oddly at all, I checked the IMDB but was unable to find any kind of release date for this, which is probably on DVD in some form already. Enjoy.



And finally (well, before the "Mad Men" goodness, at least), here's the newest trailer for Ridley Scott's "Robin Hood," which will be out to assault all your sense and sensibility on May 14. I still can't yet see any way this is going to be any good, but I've been wrong at least once today already I'm sure, so enjoy the trailer.

And, really finally, even though I'm far too old and, well, everything to ever play with dolls, who could resist at least looking at these Mattel creations based on the characters from "Mad Men"? If you have more disposable income than me and want something funny to put on your mantel, you certainly could do a lot worse. They go on sale in July for a rather ridiculous price of $75 each! Anyways, enjoy the photo, and have a perfectly pleasant Thursday. Peace out.

The stars of "Once" make beautiful music together again

If you saw the thoroughly charming little Irish film "Once" three years or so ago, you surely remember the names Glen Hansard and Marketa Irglova. Well, musically at least, they're back together again, and they sound as good as ever as The Swell Season.

Following - or perhaps concurrently with, I'm not sure - their on-screen romance in John Carney's flick, they were an actual couple too, but have since broken up. And be warned: The fact and feeling of that breakup resonates throughout The Swell Season album "Strict Joy," which I bought from the Itunes yesterday (and have listened to at least three times through since then.)

The sadness of it creeps up on you slowly, however. I was so hypnotized on first listen by the sheer beauty of the music (and, though I'm prone to it from time to time, I'm not exaggerating one bit here) that I didn't really notice it at first. In perfect harmony, the two of them explore all kinds of variations within their basic folk music motif, and they all work (and I guarantee you won't be able to get Irglova's rhythmic chant of "you're every now and then on my mind" on the best track, "I Have Loved You Wrong," out of your head for a long time.) And besides, if you spring for the two-disc special edition, you also get a live album featuring all the great tracks from "Once" and more, so how can you go wrong?

And in some kind of odd convergence that I suppose can only be put up to coincidence, rather big news about Carney's next film, his first with any actual Hollywood stars, has dropped today.

Zach Galifianakis and Amy Adams are about to sign on to star in Carney's comedy-drama (or dramedy, I suppose, if you must) "The Town House," based on the debut novel by Tish Cohen.

The story centers on an agoraphobic man (Mr. Galifianakis, I'd have to presume) who lives with his teenage son in a historic Boston townhouse that he inherited from his rock star father. With royalties from his father's work dwindling, the man is forced to come to terms with his life. A call girl (Adams, maybe, which would by force have to be pretty fascinating) strikes up a friendship with the man.

As I was typing all that, I stopped to add the only John Carney movie I could find there to my Netflix queue and moved it to the top of the list (so I'll get it after returning either Lee Daniels' "Shadowboxer" or Guillermo Del Toro's "The Devil's Backbone," since my wallet forced me to drop back to two movies at a time.) It's called "On the Edge" and it stars two of my favorites, Stephen Rea and Cillian Murphy, and I love me some John Carney, so I can't wait to see it.

Except for that today, all I've got is a trio of videos that are varying degrees of fascinating. First up comes a rather extended look (eight scenes and more than 12 minutes) at Terry Gilliam's "The Imaginarium of Dr. Parnassus." You get glimpses of Heath Ledger and the three men who replaced him - Johnny Depp, Jude Law and Colin Farrell - and even better, several looks at Tom Waits as Beelzebub himself. Even if this does turn out to be a trainwreck, I'm still thoroughly psyched to see it when it finally drops on Christmas Day and I'm in NYC. Enjoy.



Next up comes the second (I think) trailer for Tim Burton's "Alice in Wonderland," and it's of course very heavy on Mr. Depp as the Mad Hatter. I have a feeling that when this finally comes out in March I'm going to be permanently haunted by that gigantic Cheshire Cat head. Enjoy.


Alice in Wonderland - Extended Trailer

And, though I had my doubts, I think I've definitely saved the best for last with the first trailer for Clint Eastwood's "Invictus," which stars Matt Damon and Morgan Freeman (as a certain man you may have heard of known as Nelson Mandela.) I'm always suspicious of Eastwood's movies because he makes everything so obvious, but I adored "Gran Torino," and this looks even better. Judging from this brief look, I'd say he's captured this magical moment in time, and will take home all the Oscars (and more) that he deserves. Enjoy, and have a perfectly passable Wednesday. Peace out.

Why does Oscar hate music so much?

Actually, the big news about music this morning is that HBO has hired John Sayles to write and I would assume at least partly direct "Scar," an upcoming series about the childhood of Red Hot Chili Pepper Anthony Kiedis. Even though Sayles' last foray into music, the blues-tinged "Honeydripper," was just a mangled mess, Kiedis' colorful upbringing (with a father who sold drugs on the Sunset Strip) should make for entertaining fare.

But as is often the case on a Monday morning, I really start today with a beef. Though last night's Oscars broadcast was an enjoyable enough affair with some pleasantly surprising winners (but how in the world did Mickey Rourke not win?), the treatment of the best songs was simply atrocious.

And, even though they had already snubbed two worthy contenders in Bruce Springsteen's "The Wrestler" and Clint Eastwood's "Gran Torino" by failing to even nominate them, they still had two worthy contenders from A.R. Rahman's sensational "Slumdog Millionaire" soundtrack (a big winner) and a pretty solid tune from Peter Gabriel in "Down to Earth" from "Wall-E."

So why in the world couldn't they have at least offered those three separate performances, well spaced out and bookended by the Indian pop extravaganzas? I mean, really, if you can't mount a Bollywood-style musical number or two, what good is the awards show in the first place?

Instead, though Hugh Jackman got plenty of chances to ham it up (and do one grand musical number with Beyonce Knowles, who should have been a nominee and probably a winner for Best Supporting Actress for her portrayal of Etta James in "Cadillac Records"), the Best Original Song nominees were crammed into one melody, with fairly disastrous results.

It started off well enough, with little A.R. Rahman (and, being a man of fairly short stature, I say little with the highest respect possible) surrounded by beautiful dancers and big drums for "O Saya," which only could have been better with an appearance from M.I.A. (now that she's had the kid and all.) Fair enough.

But then, John Legend - a k a the man who murdered what's left of R&B (sorry for that, but I really hate John Legend, and that shot of him in a coffin from "Soul Men" was just one of my favorite images from all of 2008) - came out to croon "Down to Earth," perhaps because Peter Gabriel knew how his work was going to be treated and refused to show up.

This was pleasant enough, John Legend notwithstanding, but then things really fell apart. Rather than anything even approaching the grand finale of "Slumdog Millionaire" for "Jai Ho" (I mean, really, didn't they already choreograph it for you perfectly, and weren't Dev Patel and Freida Pinto - as well as all those adorable kids - in the audience and ready to dance?), they just limped back into it with none of the grand delivery it deserved. Worst of all, poor Mr. Rahman was left to fight for air time with Legend, who producers thought would be a good idea to have show up for the end of "Jai Ho" (after less than a minute of it!) to sing some of Gabriel's tune at the same time. Simply dreadful.

Oh well. At least Rahman won for both score and for "Jai Ho," though "O Saya" is the better song. And I guess that's enough of a rant about a show that, like I said at the start, had at least a couple of pleasant surprise winners.

Penelope Cruz as Best Supporting Actress might only have been a surprise to me, but it was certainly a welcome one. She was perfectly charming in her acceptance speech, and it was worthy recognition for one of the best comedic performances of the year in "Vicky Cristina Barcelona" (and the first Oscar win for a Spanish actress.)

And though I thoroughly enjoyed the disturbing Katrina documentary "Trouble the Water" when I got to see it at the Rehoboth Beach Independent Film Festival, I was happy to see "Man on Wire" (another flick I saw in Rehoboth) take home the big documentary prize. If you're a fan of heist flicks, than I highly recommend this flick (which must be out on DVD by now) about what might just be the ultimate caper, Philippe Petit's walk between the Twin Towers.

It was also, of course, cathartic to see Heath Ledger's family accept his Best Supporting Actor prize for "The Dark Knight," probably the most deserved award of the entire evening, and being a big backer of "Slumdog Millionaire" I was very happy to see it take home eight awards, including Best Director for Danny Boyle and Best Picture (I suppose I could have started with that, but it is a Monday morning, after all.)

And I'll leave you with the montage clip of 2009's coming attractions from last night's show. The best things to me were the glimpses of "Public Enemies," "Julie & Julia" and Larry David in "Whatever Works," and the most groan-inducing shot would have to be the one of Robin Williams and John Travolta in "Old Dogs." I have no idea how in the world they managed to leave out Disney's "The Princess and the Frog" with Anika Noni Rose, but even with that rather glaring omission, it's still a cool little preview. Enjoy, and have a perfectly passable Monday. Peace out.

Who got the bigger Oscar shaft, The Boss, Batman or Dirty Harry?

Before I dive into anything about the Oscar nominations, the coolest thing I found this morning was actually casting news for what should be a rather wickedly good movie from Alfonso Cuaron.

The "Children of Men" director's next flick will probably be what the IMDB still calls an "Untitled Alfonso Cuaron Project," a small film about a family living in Mexico City in 1971, but I'm talking about what should come next.

"A Boy and His Shoe" is described as a road movie about young folks traveling throughout England, Scotland and France, and if you've seen "Y Tu Mama Tambien" (and if you haven't, why not?), you know the man knows a thing or two about road movies. And, even better, according to the Froggy film site Cinempire (if I have my rusty French right), he's recruited French everyman Daniel Auteil and Charlotte Gainsbourg to star in it.

Still best known so far as the daughter of iconic French crooner Serge Gainsbourg, Charlotte is turning into a fine actress herself. I've liked her ever since Claude Miller's "The Little Thief," and she and Heath Ledger together were easily the best thing about Todd Haynes' "I'm Not There," Cate Blanchett notwithstanding.

Anyways, enough about that. On to the Oscars ...

I was asked by my boss to write something handicapping the Oscars for the actual Telegraph newspaper, and I will about a week before the show or so, but for now just a few gripes, starting with the shoddy treatment of "The Dark Knight."

Now, I didn't put it in my top five for the year ("Milk," "Slumdog Millionaire," "The Wrestler," "Tell No One" and "Let the Right One In"), so I wasn't terribly surprised or upset to see it didn't get a Best Picture nomination, but I really would have liked to see a Best Director nomination for Christopher Nolan's accomplishment.

According to some fun facts compiled by Variety, this is rather amazingly only the fifth time that all five directors of the Best Picture nominees also got a Best Director nod, and I would usually say huzzah to that. It just seems to make sense.

This year, however, can you really tell me that Stephen Daldry, who has now received Best Director nominations for each of his first three films ("Billy Elliott, "The Hours" and now "The Reader"), is deserving of yet another nomination while Nolan is shut out for creating something as epically entertaining as "The Dark Knight"? Now, I haven't seen "The Reader," and I realize that makes my argument rather ludicrous, but this is my rant, so deal with it.

One of the two people who might have a bigger beef than Mr. Nolan would have to be Clint Eastwood, who I just assumed was entitled to a Best Picture nomination every time he sat in the director's chair, but this time got a big bucket of nothing for "Gran Torino."

Now, I would normally celebrate the death of this sense of entitlement, but I found "Gran Torino" to be more entertaining than any Eastwood-directed movie I've seen since "Bird." It took a while to grow on me, but for a reason that probably reflects poorly on me: I found myself laughing at the saltier of Walt Kowalski's racial slurs, and it just me extremely uncomfortable for a good portion of the flick.

That said, once I've had time to think about it, Eastwood's tale about his friendship with a Hmong family that moves in next door is a naturally entertaining tale, even if he is still a mortal enemy of subtlety (examples: Did they really have to play the military music every time he pointed a gun or, AND IF YOU HAVEN'T SEEN THE FLICK YET, PLEASE SKIP TO THE NEXT PARAGRAPH, have him lying in the shape of a cross at the end of the flick?)

Those are small quibbles about a flick that while, again shouldn't have gotten a Best Picture nomination, should have at least garnered either a Best Actor nod for him, an Adapted Screenplay nomination for Nick Schenk or, at the very least, a Best Song nomination for his graceful theme song that plays at the movie's finish.

And, to wrap this up with the biggest head-scratcher of all, how in the world did they end up only nominating three songs in the Best Original Song category, "Jai Ho" and "O Saya" from "Slumdog Millionaire" and "Down to Earth" from "Wall-E"? The double nod for A.R. Rahman's "Slumdog" work (he's also, rightfully, nominated for Best Original Score) probably means they will cancel each other out for a "Wall-E" victory (actually, the "Wall-E" nomination that just made me smile was Andrew Stanton, Pete Docter and Jim Reardon with Best Original Screenplay for a movie that mainly features robot dialogue. Priceless.)

But, getting back to the songs, did they just get tired after picking three and stop? Along with snubbing Clint Eastwood's jazzy piano tune, they also ignored Bruce Springsteen's soulful theme song for "The Wrestler," which also closes out Darren Aronofsky's movie and is one of the Boss's best songs in years.

OK, enough about that. If I had to handicap it, I'd say the Best Picture race will be a three-way heat between "Slumdog Millionaire," "Milk" and "The Curious Case of Benjamin Button," and I guess you could do worse than that (though I've expressed here before my distaste for "Benjamin Button.") In closing, here's a video montage from the flick set to Springsteen's tune, since, amazingly, "The Wrestler" is STILL not playing wide enough to reach into my little corner of the world this week (though we do finally get "Frost/Nixon," "Rachel Getting Married" and "Slumdog Millionaire," so I should probably just be thankful.) Enjoy the song, and have a perfectly pleasant weekend. Peace out.

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.

Surprise ... Spike Lee sounds off at Cannes

I love Spike Lee, even when he's just horribly wrong, because the man is never, ever boring.

At Cannes to promote his upcoming World War II flick "Miracle at St. Anna," Spike couldn't help but take swipes at some big-time fellow directors, the Coen brothers and Clint Eastwood.

When it comes to the Coens, however, I had to think back through all their movies before deciding he's just dead wrong. Here's what Mr. Lee had to say about their body of work:

"I always treat life and death with respect, but most people don't. Look, I love the Coen brothers; we all studied at NYU. But they treat life like a joke. Ha ha ha. A joke. It's like, 'Look how they killed that guy! Look how blood squirts out the side of his head!' I see things different than that."

Wow. Now, the Coens have certainly, and thankfully, made their share of very funny comedies, but I don't think they've ever made death a joke. Now, they do make it a very stylish occurrence and, yes, do sometimes revel in the bloodiness of it, but if anything "No Country for Old Men" was the best meditation on violence and death I've seen in many, many years.

But, Spike being Spike, he wasn't finished yet, and saved his most savage (and accurate!) critique for Mr. Eastwood. Here goes:

"Clint Eastwood made two films about Iwo Jima that ran for more than four hours total and there was not one Negro actor on the screen. If you reporters had any balls you'd ask him why. There's no way I know why he did that -- that was his vision, not mine. But I know it was pointed out to him and that he could have changed it. It's not like he didn't know."

Amen, brother. I really had no time at all beyond the performance of Adam Beach for Clint's "Flags of Our Fathers," but I really liked "Letters from Iwo Jima" quite a bit. That said, Spike is right, and I'm happy someone has the huevos to point it out in such a significant forum.

As for "Miracle at St. Anna," Spike said it's in the final stages of post-production and will be complete by the end of July, hopefully for a very wide release on Oct. 10. The flick, for anyone who doesn't know yet, is about four African-American Buffalo soldiers of the 92nd Infantry Division - Derek Luke (huzzah!), Michael Ealy, Laz Alonso and Omar Benson Miller - who get trapped in a a small Tuscan village on the Gothic Line during the Italian Campaign of World War II. It also stars James Gandolfini, John Leguizamo, Kerry Washington and Joseph Gordon Levitt (another huzzah!), hopefully giving it enough star power to reach my little corner of the world this fall.

Steve Buscemi in 'Revolt'

With Michael Cera set to star in the adaptation of one of my favorite books, I already had my eyes squarely on any news about "Youth in Revolt," and there's a lot of the good kind about it today.

For director Miguel Arteta ("Chuck and Buck"), Cera will play the sex-obsessed hero Nick Twisp, 14 in the book but assumedly a little older when this finally hits movie theaters in December. Now, in some fantastic casting news, he's being joined by Steve Buscemi as Nick's violent and status-obsessed loser of a father, George Twisp, and Ray Liotta, who plays a rather fascist member of the Oakland PD who shacks up with Nick's mom. Jean Smart and M. Emmet Walsh have also signed on, but I'm not sure as of yet to do exactly what. Still to be cast is Sheeni Saunders, the teen temptress who wins Nick's heart.

The book by C.D. Payne is one of the silliest I've ever read, but still holds a high place in my heart, so here's hoping this all turns out as funny and crazy as it should be.

"The Happening" trailer

What exactly makes this a redband trailer I have no idea, but it does hold the promise that director M. Night Shyamalan will get back to top form when "The Happening" comes out in July. I certainly hope he delivers a winner, but now I've got to hurry and get to work. Peace out.