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.

For normally quiet August, a surprisingly strong week for movies

Two movies that I (and perhaps you) want to see in one week in August? That only seems to happen once about every five years, so we should definitely beat the heat and take advantage of it. Plus, here in Macon, the Film Guild offers a bonus pick on Sunday that takes a different look at the settling of the American West.

First up, getting an early start on the week by opening Wednesday is "The Help," based on the very popular novel by Kathryn Stockett. Having read the book, I mostly enjoyed it, but with its very broad characters drawn in stark black and white (and I'm not talking about race here) with few touches of grey, and equally broad humor, I think it will work even better as a feel-good movie.

For anyone who hasn't read the novel, it's about a listless University of Mississippi graduate, Eugenia "Skeeter" Phelan (played in the movie by Emma Stone), who convinces the black maids of '60s Jackson, Miss., to tell their stories. She's surrounded by a pretty first-rate cast, with Viola Davis and Octavia Spencer leading the maids, and Bryce Dallas Howard, Jessica Chastain and Allison Janney all playing supporting roles.

On a surely much cruder but hopefully also funnier note comes "30 Minutes or Less," director Ruben Fleischer's followup to his rather sublimely entertaining "Zombieland," this time with an even sillier premise: A slacker pizza delivery driver is kidnapped by some ne'er-do-wells who strap a bomb to his chest and force him to rob a bank. And yes, that's a comedy.

"Zombieland" star Jesse Eisenberg returns as the main slacker, and he's surrounded by solidly funny people, including Aziz Ansari of "Parks and Recreation" and Danny McBride, so I'm betting on this being a winner.

As far as the third new wide-release movie of the week goes, I've managed to somehow miss out on all the "Final Destination" carnage thus far, so I'm fairly certain I'll be able to just say no to the fifth installment (yes, really) without really missing anything.

And finally, rounding out a full movie week, the Macon Film Guild is presenting director Kelly Reichardt's Western, "Meek's Cutoff," Sunday at 2, 4:30 and 7:30 p.m. at the Douglass Theatre. I haven't seen this one yet, but I have seen Reichardt's "Wendy And Lucy," and enjoyed it quite a bit.

From that experience, I can tell you that Reichardt's movies do move more than a bit slowly, but "Wendy and Lucy," which like "Meek's Cutoff" stars Michelle Williams, was thoroughly engrossing, as I suspect this tale of a band of settlers traveling through the Oregon desert in 1845 will be, too.

First look: Three clips from Sarah Polley's "Take This Waltz"

If you haven't seen Sarah Polley's directorial debut, "Away From Her," I'd recommend a rental right away. Yes, it's a movie about Alzheimer's disease and therefore by force not the most upbeat of movies, but the chronicle of its effects on an elderly couple is one of the best flicks I've seen in the last five years or so, and just an all-around astonishing debut.

And now, Polley is back at this year's Toronto Film Festival with her directing follow-up, the romance of sorts "Take This Waltz." (As an aside, Canadians really are infatuated with Leonard Cohen. ... Along with giving this flick its title, his music runs throughout "Barney's Version" starring Paul Giamatti, just out on video, and also well worth a rental.)

But I digress. "Take This Waltz" stars Reel Fanatic fave Michelle Williams and Seth Rogen in a story of a young Toronto couple dealing with issues of fidelity as a new man enters the picture. Newcomer Luke Kirby plays said Lothario, and as you'll see from the clips below, Sarah Silverman also appears in this, though looking much more serious than usual.

I'm not sure when this might be coming out in theaters in at least some corners of the world, but definitely keep an eye out for it, and enjoy the clips. Peace out.

A short Thursday report long on fun news

If you skipped Derek Cianfrance's "Blue Valentine" last year, either because of its mind-boggling NC-17 rating or simply because the subject matter sounded so depressing, fix that right away with a rental, because in many ways the movie is a real joy to watch.

It is indeed about a marriage that's imploding in front of our eyes, but the acting from Michelle Williams (rightly nominated for an Oscar) and Ryan Gosling is nothing short of amazing to behold, and the story goes on a journey well worth exploring that will make you smile and laugh more than it will make you blue. The "future room" alone makes this movie well worth renting (it's out on DVD now, so check it out).

And even better comes big casting news about Cianfrance's next movie, the crime drama "The Place Beyond the Pines," which reunites him with Gosling. He will play a biker who, after having a child, begins robbing banks to support the baby. And now comes word that Bradley Cooper will play a rookie cop who's on his trail.

Filming will start in July, and Cianfrance is a real talent to keep an eye on, so stay tuned for more on this whenever I find it.

In other news about a director I can't get enough of, it's now guaranteed that even people in my little corner of the world will get to see Tomas Alfredson's follow-up to the simply sublime "Let the Right One In" (still streaming on Netflix), a remake of "Tinker, Tailor, Soldier, Spy."

The news is that Focus Features has taken over distribution from Universal and has set an awards season U.S. release date of Nov. 18, and best of all, will apparently do so in glorious "wide release."

Bully to that, because Alfredson has compiled a stellar cast for the Cold War spy saga based on the John Le Carre novel, starting with Gary Oldman as George Smiley, the British spy charged with uncovering a Russian mole in his ranks, and also featuring Colin Firth, Ciaran Hinds, Tom Hardy and Mark Strong.

Bring it on already, even for people like me, who live in tiny burgs!

And finally (and inevitably) today, Paramount is finalizing an option deal to develop a movie based on "Furious Love," an account of the public love affair of Elizabeth Taylor and Richard Burton, and is ready to hand it off to one Martin Scorsese to direct.

Scorsese is currently wrapping up "Hugo Cabret" starring Chloe Moretz and Asa Butterfield (based on one of my favorite novels, "The Invention of Hugo Cabret," so bully to that) for a Nov. 23 release, and after that he has a number of potential projects on his plate. Included among those are "Silence," a tale of two Jesuit priests (potentially Daniel Day Lewis and Benicio Del Toro, imagine that) in 17th century Japan, the hitman drama "The Irishman" and a Frank Sinatra biopic.

Though any of those would be a natural fit, I'd imagine he would gladly put them all on hold to jump on this, given his interest in Hollywood history and how simply juicy the story is. Burton and Taylor were both married when they met on the set of "Cleopatra" in 1960, and began a public romance that inflamed the paparazzi. They eventually married in 1964, divorced in 1974, remarried in 1975 and separated for good in 1976.

And with that, I'm off to the job that still pays my bills, so have a perfectly pleasant Thursday. Peace out.

A first look at Kelly Reichardt's Western, "Meek's Cutoff"

As we slowly emerge from a rather seriously dreary movie winter, good movies are coming with us, and the poster above is for one I'm definitely looking forward to. James Gunn's "Super" stars Rainn Wilson as an average guy who transforms himself into the super hero shown above, The Crimson Bolt, to take out the drug dealer (Kevin Bacon, naturally) who has absconded with his wife (Liv Tyler). Throw in Ellen Page as his sociopathic sidekick, and I'm certainly in.

And best of all, if you live in the world of wide releases only like me: This is an IFC release, so it should be coming to IFC On Demand on your cable box right around the same time it hits (a few at least) theaters April 1.

But what really caught my eye this morning was the first trailer I know of for director Kelly Reichart's Western, "Meek's Cutoff," which will be coming to at least some theaters a week after "Super," and will probably be the first 2011 movie I'll drive an hour up the road to see in Atlanta.

Judging from the one Reichart movie I've seen so far, "Wendy and Lucy," starring Michelle Williams as a young woman whose fragile life unravels after she loses her dog, this new flick will be a really low-key, low-action affair, but I'm still betting on something pretty great.

"Meek's Cutoff," which again stars Williams and also Paul Dano, tells the story of Stephen Meek, a hired guide who, according to The Playlist, "led an ill-fated contingent of wagons through a shortcut en route to the Willamette Valley in 1845."

Here's more of the official synopsis from Oscilloscope, which is releasing this:

The year is 1845, the earliest days of the Oregon Trail, and a wagon team of three families has hired the mountain man Stephen Meek to guide them over the Cascade Mountains. Claiming to know a short cut, Meek leads the group on an unmarked path across the high plain desert, only to become lost in the dry rock and sage. Over the coming days, the emigrants must face the scourges of hunger, thirst and their own lack of faith in each other’s instincts for survival. When a Native American wanderer crosses their path, the emigrants are torn between their trust in a guide who has proven himself unreliable and a man who has always been seen as the natural enemy.

Man, does that sound great to me. Enjoy the trailer, and if you happen to live in one of this country's very biggest cities, definitely check this one out on April 8. Peace out.


Meek's Cutoff
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Oscar predictions: Who should and will win

Actually, the main question that pops into my mind about the Oscars this morning is why in the world do they wait so long between announcing the nominees and declaring the winners? Rather than building suspense, it really just sucks a lot of fun out of it as all the other awards get to go first, adding up to kudos overkill.

Still and all, they are the Oscars, so I'll tune in. And here are my predictions of who will win - and my picks of who should win - on Sunday night's broadcast.

Best Supporting Actress
The nominees: Amy Adams, "The Fighter"; Helena Bonham Carter, "The King's Speech"; Melissa Leo, "The Fighter"; Hailee Steinfeld, "True Grit"; Jacki Weaver, "Animal Kingdom".
Should win: Jacki Weaver. If you haven't seen this gritty Australian gangster flick, definitely rent it if only to see how Weaver runs her family of two-bit crooks with her unique version of a mother's love.
Will win: Amy Adams and Melissa Leo should cancel either out here, with Hailee Steinfeld emerging as the winner, and why not? She really should be in the Best Actress category, but she was funny, fierce and fragile all at once in the Coen brothers' flick.

Best Supporting Actor
The nominees: Christian Bale, "The Fighter"; John Hawkes, "Winter's Bone"; Jeremy Renner, "The Town"; Mark Ruffalo, "The Kids Are All Right"; Geoffrey Rush, "The King's Speech".
Should win: John Hawkes, who as uncle "Teardrop" held all the cards he had about the movie's main mystery very close before playing them with perfect precision to help his niece find out the truth about his brother.
Will win: Unless he gets steamrolled by the "The King's Speech" express and Geoffrey Rush, who should really be a Best Actor nominee anyway, Christian Bale will run away with this for throwing himself so completely into the role of crack-addicted boxing trainer Dickie Eklund.

Best Actress
The nominees: Annette Bening, "The Kids Are All Right"; Nicole Kidman, "Rabbit Hole"; Jennifer Lawrence, "Winter's Bone"; Natalie Portman, "Black Swan"; Michelle Williams, "Blue Valentine".
Should win: Michelle Williams. Along with Ryan Gosling, a major omission from the Best Actor field, she made up one half of the doomed couple at the center of Derek Cianfrance's great movie, and made her heartache surprisingly compelling - if not exactly fun - to watch.
Will win: This is easily the strongest category of the night, but in a battle mainly between Annette Bening and Natalie Portman, Portman will prevail for her portrayal of Nina, the ballerina driven way beyond the brink of madness in "Black Swan."

Best Actor:
The nominees: Javier Bardem, "Biutiful"; Jeff Bridges, "True Grit"; Jesse Eisenberg, "The Social Network"; Colin Firth, "The King's Speech"; James Franco, "127 Hours".
Should win: James Franco, who is the co-host of this year's Oscars broadcast with Anne Hathaway, took us on the full ride of emotions in Danny Boyle's exhilarating "127 Hours", even as he was trapped in a hole for most of the movie.
Will win: There's no stopping the king here, so Colin Firth will prevail for his pitch-perfect performance of stammering monarch George VI.

Best Director
The nominees: Darren Aronofsky, "Black Swan"; David O. Russell, "The Fighter"; Tom Hooper, "The King's Speech"; David Fincher, "The Social Network"; Joel and Ethan Coen, "True Grit".
Should win: Darren Aronofsky turned what easily could have been a schlocky B-movie (and often still is) into a superb psychological thriller with "Black Swan," and for that he should be rewarded.
Will win: There's nothing people hate more here than a Best Director/Best Picture split, but I think that's what we'll have, with David Fincher winning Best Director for turning Aaron Sorkin's whip smart script about the creation of Facebook into an equally fun movie.

Best Picture
The nominees: "Black Swan", "The Fighter", "Inception", "The Kids Are All Right", "The King's Speech", "127 Hours", "The Social Network", "Toy Story 3", "True Grit", "Winter's Bone".
Should win: Debra Granik's "Winter's Bone", a coming of age tale/film noir set in the Ozarks, has long been my favorite movie of 2010, and time has done nothing to change that.
Will win: The early buzz was for "The Social Network", but the late mojo is behind "The King's Speech", which will prevail, and as a period piece that has managed to become the people's champ without being stodgy, I can certainly live with that.

And there you have it. Please feel free to let me know of any of these you think I just got completely wrong and, for an awards list that's always much more fun (and a lot shorter) than the Oscars, check out the Bob Awards here. Always a great read. Peace out.

A Friday clip cache, starring X-Men, Arthur and Pixar

I have no idea who all the dudes playing the 13 dwarves are, but it just warms my movie heart to see Martin Freeman in the photo above for "The Hobbit," even if he's not in his Bilbo Baggins costume, so there you go.

And before we get to the videos, there are a couple of tidbits of news out there that caught my eye, so bear with me.

Buffy ... well, at least Sarah Michelle Gellar, is coming back to TV this fall in a series that sounds fairly promising, and now it's starting to flesh out its cast. "The Ringer," created by two of the brains behind "Supernatural," stars Gellar as a woman on the run from the mob (or the law, or something, I'm not really sure yet) who takes the identity of her twin sister, only to find out sis is in some trouble too. So, Buffy in two parts, and now we find out that "Lost" vet Nestor Carbonell is joining the CBS drama as the FBI man charged to protect her so she can testify against the mob. Yeah, I'll check out at least a few episodes of that.

And in actual movie news about Jennifer Lawrence because, well, I'll watch her in just about anything, she's apparently signed on for Oliver Stone's "Savages," and though it's been years since he's made anything even approaching great, this sounds promising. The movie, based on the book by Don Winslow, is about two friends and pot dealers from Laguna Beach who, as their business thrives, come up against a Mexican drug cartel who kidnaps and holds for ransom their shared girlfriend (Lawrence). Juicy. And though I can't imagine there's any way that Lawrence will prevail in the Best Actress Oscar race for her performance in "Winter's Bone," she or Michelle Williams in "Blue Valentine" would get my vote, so here's hoping. (And in case you have trouble taking your eyes off that photo, you can thank my co-worker Mike Stucka for pointing it out ... it's apparently from Rolling Stone).

For her next part on screen, though, Lawrence plays Raven/Mystique in "X Men: First Class," which brings us to the first of today's three clips. With this coming from "Kick-Ass" director Matthew Vaughn, I have high hopes, since that was easily one of my favorite movies of 2010 (and made my top 10). The few photos that have leaked so far have been a little sketchy, but as you'll see from this first trailer, this should be an old-fashioned, but also hopefully great, superhero affair, with some somber thrills. Enjoy, and tune in to find out exactly what Vaughn has managed to do with this on June 3.



OK, I've railed about thoroughly unnecessary remakes as much as anyone, but I can't help it: This, at least from the trailer (which may well, of course, have all the funny bits), looks friggin' hilarious. As you'll see from this first trailer below, Russell Brand jumps into the role of "Arthur," which turns out to be funny enough, but when you add Dame Helen Mirren as his butler/nanny and Luis Guzman (welcome back!) as his driver/sidekick, this looks really promising. Besides, even if you like Russell Brand (which I really do), there's just something soothing about watching him get punched in the face by Mirren, and Guzman's Robin suit is something to behold. Enjoy the trailer, and keep an eye out for this on April 8.

And finally today, since it's Friday, and just in case you didn't hate your own job quite enough, Elena Myzik, one half of the New York Times' most recent incarnation of the Carpetbagger blogging team, recently got to go behind the scenes at the Pixar studios, and it's indeed about as amazing a place as you might imagine. Enjoy this video about her trip, and have a perfectly pleasant weekend. At least part of mine will be taken up reviewing both the most recent Doctor Who christmas special and Tanya Hamilton's "Night Catches Us" on DVD for Collider.com, so things could certainly be worse. Peace out.

Oscar surprises - the good, the bad and the ugly

Actually, before I get into any of that, and it really was a pretty great year for interesting movies getting deserved Oscar nominations, there are three tidbits of perhaps fresher news out there that caught my eye this morning.

First up, with "Red" hitting DVD shelves this week (and my home player this weekend), Summit has announced that a sequel to the octogenarian comic book hit is on, and to that I can only say bully. If you happened to stop by yesterday, you know I pretty much love the original, which captured the comic book feel nearly perfectly and was just a whole lot of fun.

So far for the sequel, Summit has hired brothers Erich and Jon Hoeber, who wrote the script for the first movie, but as yet no actors. I have to assume, though, that if they come up with anything even pretty good, Bruce Willis, Helen Mirren, John Malkovich and hopefully even the great Brian Cox will all be back for more. Stay tuned.

In other news, fresh off his Oscar love for "The Social Network," it seems that Aaron Sorkin is headed back to TV with something that could be fascinating - at least if its a lot more "Sports Night" than "Studio 60." He has told the BBC he's working with HBO on a series that would be set back stage at a cable news show.

Now, I can only take those shows in very small doses, and the only one I watch with any regularity is "Morning Joe," but they're still certainly an interesting petri dish of ideas and bombast for Sorkin to play around in, assuming this is happening as he says. Unfortunately, it seems that Keith Olberman, who I was hoping was now gone from TV pretty much for good, may be back on this as a character of some kind.

And finally, before I get into the Oscars, buzz has been building about an Alfred Hitchcock biopic, which I'd be hesitant about if it weren't coming together so well so far. Though it's hard to call it high art, there are very few documentaries that I've seen in the past 10 years or so that are more entertaining than Sasha Gervasi's "Anvil: The Story of Anvil," which chronicles the misadventures of Canada's hardest-working heavy metal band (yes, really).

For his next project, Gervasi is now in talks to direct an adaptation of the Stephen Rebello book "Alfred Hitchcock and the Making of Psycho," which would be about exactly what the title says. Even better, Sir Anthony Hopkins, who's hamming it up this week in his own "horror" movie which I won't be going to see, "The Rite," is now in talks to play Hitchcock himself. Nothing but potential perfection there, methinks.

OK, on to the Oscars, which contained some surprises this year, most of them good for once. Being a glass half full kind of dude on my best days, I'll start with the good, and try my best to make that portion longer. Here goes.

The good

All the love for "Winter's Bone": I've made it no secret around here that Debra Granik's coming-of-age film noir of sorts set in the Ozarks is, by a pretty wide margin, my single favorite movie of 2010, so I wasn't terribly surprised that it managed to sneak into the Best Picture top 10 (to brag just a bit, I managed to predict the 10 nominees here a week ago, correctly tapping this and "127 Hours" for the final two spots.)

What I didn't expect, but certainly support, is acting nods for both Jennifer Lawrence (Best Actress) and John Hawkes (Best Supporting Actor). Though she'd get my vote for carrying this movie with a fragile but still unwavering will, I don't think Lawrence has any chance in a category that will probably belong to Annette Bening or Natalie Portman (of the two, I'll take the latter in "Black Swan"). Hawkes, likewise, will probably get knocked out by Christian Bale's electric turn as Dickie Eklund in "The Fighter," but any recognition of his key role as uncle "Teardrop" is welcome in this little corner of the world.

And for an award that "Winter's Bone" might actually win, it's great to see writer/director Debra Granik nominated for best adapted screenplay, though if I were a betting man, I'd say that award will ultimately go to Sorkin for "The Social Network."

Michelle Williams: Granted, I only manged to see "Blue Valentine" last week, and so it's very fresh on my brain, but Williams' nomination for Best Actress brought the biggest smile to my face Tuesday morning. Along with Ryan Gosling (more on that in a bit), she dragged viewers smack into the middle of a romance that burns extremely bright thanks to her passionate performance before of course crashing equally hard, and it would have been a much more uncomfortable viewing experience if she weren't so magnetic at the center of it all.

Jacki Weaver: That may not be a name familiar to very many people, but it should be, especially with "Animal Kingdom" now out on DVD. In that truly gritty Aussie gangster flick, which made my top 10 for the year, she plays the menacing but fiercely loyal matriarch of the doomed Cody small-time crime clan, and steals every minute ehe's allotted. This category will probably go to either Helena Bonham Carter for "The King's Speech" or Melissa Leo for "The Fighter," either of which would be fine, but I'd much rather see youth be served with Hailee Steinfeld in "True Grit" (though she really is a leading actress, of course!), or even better, the long shot Weaver somehow come out on top.

"The Illusionist": My co-workers were grumbling yesterday about how in the world "Despicable Me" could have been left off the list for Best Animated Picture, and I'm with them there. Disney's "Tangled" also got shafted, and while that doesn't really bother me at all, it does raise a bigger question: Why only three nominees in this key category? I mean, we all know "Toy Story 3" is going to win, but three is still a ridiculously small number. At least they did manage to squeeze in Sylvain Chomet's "The Illusionist," an odd little movie that, like Chomet's "The Triplets of Belleville" before it, has practically no discernible dialogue at all. What it does, have, however, in telling the story of a magician who adopts a young traveling partner who thinks his tricks are real, is a lot of humor and heart, exactly what I look for in a great animated movie.

The bad:

The best director category: Say what you want to about "Inception," but no director took more chances this year than Christopher Nolan, so with that flick nominated for Best Picture, why not Nolan for Best Director? This doesn't really miff me as much as some, but it is a real head-scratcher. More important, I think, is how in the world did the Academy manage to recognize no women in this category? Lisa Cholodenko was certainly a possibility for "The Kids Are All Right," but I really think that's the weak link in the Best Picture field. Much better would have been Granik, who delivered nothing short of a masterpiece (a term I try not to throw around a lot, but it's deserved here - watch it already!) with "Winter's Bone." Apparently handing one Oscar to Kathyrn Bigelow was enough for a while. Sheesh. I predict a split decision here, with "The King's Speech" winning Best Picture by sheer momentum, but David Fincher taking Best Director for "The Social Network."

Ryan Gosling: Also among the office Oscar chatter I heard yesterday was that Julia Roberts threw a party just last week to throw her weight behind Javier Bardem being nominated for Best Actor for "Biutiful" (which I haven't seen). Who knows if that had any effect, but if so, it's a real crime, because how in the world do you nominate Michelle Williams for "Blue Valentine" but not her worse (relationship-wise) but at least equal (acting-wise) half? Simply maddening, but if you haven't seen this movie yet, just do while you can, because in spite of its difficult subject matter, it really is a joy to behold.

Cinematography: It was a pretty banner day for "127 Hours," which certainly made me cheer. Oscar co-host James Franco got a much-deserved Best Actor nomination, Danny Boyle and Simon Beaufoy are rightly up for Best Adapated Screenplay, and it of course snuck into the Best Picture field (and into movie theaters in my little corner of the world this weekend - bully). But how in the world were Enrique Chediak and Anthony Dod Mantle not recognized for the beautiful camera work that made both the euphoric highs and depressing lows (there are more of the former, thankfully) just shine so bright on screen? I just assumed this was a lock, because along with being an all-around great film, it just looks like nothing else that hit theaters in 2010, and how many movies can you really say that about?

OK, there you have it. I'm off now somewhat late to the job that still actually pays, but please feel free to add any Oscar surprises of your own that just made you smile or grown, and have a perfectly passable Wednesday. Peace out.

The best movie you'll probably hear nothing about from the Oscar nominations.

If I'm reading things right, you won't be hearing the two words "Blue Valentine" very often - if at all - when the Oscar nominations are announced Tuesday morning.

Which will be a real shame, because Derek Cianfrance's movie is the first "romance in reverse" that actually hooked me right from the start.

Until now, these types of movies have ranged from good-but-far-too-cute ("500 Days of Summer") to so bad I'd claw my eyes out to make it stop ("The Break-Up"). The difference with Cianfrance's movie is that you never doubt, even at its darkest moments, that these were two people who were once completely, even desperately in love ... or so we think at the start.

And it certainly doesn't hurt when the couple at the story's core is played by Michelle Williams and Ryan Gosling, who throw themselves so thoroughly into the story that it has an intimacy - and though the word is used far to often, it's right here, "raw" feeling - that we often feel like we're watching something we shouldn't be, home movies or certainly private moments that never feel like they've been staged. It's a genuine accomplishment, and though it can make for some uncomfortable viewing at several points, Cianfrance and his actors earn every high, low and in between they deliver.

But I'm getting ahead of myself. As the movie opens, we see the couple's daughter, Frankie, searching for her dog, who has gotten out of its pen. Interestingly, if you've seen Kelly Reichardt's "Wendy and Lucy," you know that that movie also starred Williams as a woman who loses her dog, just about her only prized possession left in the world. Here, however, the dog is just a stepping-off point to show us how each character reacts to it.

Gosling's Dean, who we quickly learn is in many ways just a big kid himself, gets Frankie to eat her oatmeal by eating it "like a leopard," which means bite by bite off of the kitchen table. Williams' Cindy, meanwhile, tries to hold things together, getting ready for her job as a nurse and to get Frankie off to school. It's one of the many great scenes in "Blue Valentine" that sets up a dynamic that Cianfrance plays with for the rest of the movie, using tricks of time to bring us in and out of the relationship to see how they've reached this point in the space of five years or so (I can never really tell how old kids are, so that's a guess on my part.)

Other movies have certainly tried this gambit before. If you live in Macon, the film guild is showing Claire Denis' "White Material" on Feb. 13. That movie does so expertly as it tells the tale of a white family in Africa trying desperately to hold on to the coffee plantation they call home. And "500 Days of Summer" did so too, but Cianfrance doesn't rely on the cutesy day markers that set up each scene in that flick, instead dropping us in and out of scenes we never really feel completely comfortable watching, and often only in snippets, leaving the end of each to be revealed as the movie unfolds.

I don't think I'm spoiling anything by saying we come into this as Dean and Cindy's marriage is imploding faster than at least one of them (Dean) knows it. To try and escape from the reality of their dog escaping - and everything else that is clearly wrong just below the surface - they ship Frankie off to her grandfather's (the great John Doman, Lt. Rawls from "The Wire") house and, at Dean's insistence, go off to spend the night in the "Future Room" at a sleazy motel. And even if you think you can picture that, you can't until you see it - a space-themed room complete with a revolving bed, which for the two doomed lovers indeed becomes a world apart, a hotel room at the end of their world.

Cianfrance plays up that for all the humor he can and finds plenty of other moments of levity to make this almost as sweet as it just as often is better, but its in the little slights between Cindy and Dean that you subtly find out how they've come to where they are now. Watch out, in particular, for what happens when Cindy runs into an old flame at the liquor store on the way to the "Future". It seems like a harmless enough encounter, and you don't find out until later just why Dean reacts to the news as he does. Cianfrance reveals this piece by piece, and believe me, it's a mystery that pays off big as the story develops.

I've gone on long enough about this for sure, but there are two other scenes worth mentioning, among many that just get seared on the brain. During their courtship, which earns every moment of cute that comes before the cold, Williams' Cindy tells perhaps the most inappropriate joke you'll ever hear in a movie, but its in the reaction to it, by both her and Dean, that you learn just why they at first, at least, belonged together.

And there's a true moment of grace (which you don't find in movies nearly often enough nowadays) just before they first meet, as Dean is moving an old man's belongings to a nursing home. It's just one more piece in the "Blue Valentine" puzzle that draws us deeper into the story, and makes it worth following all the way to the end we know is coming.

There's a lot more I could say about this - such as this is one of the only movies to truly show what happens when a guy refuses to grow up - but the bottom line is this: Derek Cianfrance's "Blue Valentine" is about as raw as a romance can get on the big screen, and one that burns with as much passion as any I can remember before flaming out, so if you can find it playing near you, definitely go see it while you still can.

The best movie of 2010 getting all kinds of kudos

Though Pixar's "Toy Story 3" comes in a close second, I haven't seen a better movie this year than Debra Granik's "Winter's Bone," and now that it's awards season, that great flick is starting to garner some very well-deserved recognition.

First this week, it really came up big at the Gothams, winning the awards for Best Feature and, perhaps even better, Best Ensemble Performance, because Jennifer Lawrence and John Hawkes also delivered the best two performances I've seen on screen this year.,

In the Best Feature category, it prevailed over some heavy hitters in "Black Swan," "The Kids Are All Right" "Blue Valentine" and "Let Me In." (I don't want to be hateful about it, but I thought "The Kids Are All Right" was severely overrated - at best a TV movie with exceptional acting from Annette Bening. And as for "Let Me In" even being on this list, that's a disgrace.)

On a personal side note, I was disappointed to see that "Summer Pasture," a truly odd but endearing documentary about Tibetan nomads that I saw at the Rehoboth Beach Independent Film Festival, didn't win in the category of Best Film Not Playing at a Theater Near You, which went to something called "Littlerock."

And now on top of that, "Winter's Bone" has also notched the most Independent Spirit Award nominations with seven, and in all the major categories (including for Lawrence and Hawkes.)

In case anyone's curious, here are the nominees in the major categories:

Best Film
* 127 Hours
* Black Swan
* Greenberg
* The Kids Are All Right
* Winter’s Bone

Best Director
* Darren Aronofsky – Black Swan
* Danny Boyle – 127 Hours
* Lisa Cholodenko – The Kids Are All Right
* Debra Granik – Winter’s Bone
* John Cameron Mitchell – Rabbit Hole

Best Actor
* Ronald Bronstein – Daddly Longlegs
* Aaron Eckhart – Rabbit Hole
* James Franco – 127 Hours
* John C. Reilly – Cyrus
* Ben Stiller – Greenberg

Best Actress
* Nicole Kidman – Rabbit Hole
* Annette Bening – The Kids Are All Right
* Greta Gerwig – Greenberg
* Jennifer Lawrence – Winter’s Bone
* Natalie Portman – Black Swan
* Michelle Williams – Blue Valentine

Best Supporting Actor
* John Hawkes – Winter’s Bone
* Samuel L. Jackson – Mother and Child
* Bill Murray – Get Low
* John Ortiz – Jack Goes Boating
* Mark Ruffalo – The Kids Are All Right

Best Supporting Actress
* Ashley Bell – The Last Exorcism
* Dale Dickey – Winter’s Bone
* Allison Janney – Life During Wartime
* Daphne Rubin-Vega – Jack Goes Boating
* Naomi Watts – Mother and Child

Best Foreign Film
* The King’s Speech
* Kisses
* Mademoiselle Chambon
* Of Gods and Men
* Uncle Boonmee Who Can Recall His Past Lives

Best Documentary
* Exit Through the Gift Shop
* Marwencol
* Restrepo
* Sweetgrass
* Thunder Soul

Best Screenplay
* Lisa Cholodenko, Stuart Blumberg – The Kids Are All Right
* Debra Granik, Anne Rosellini – Winter’s Bone
* Nicole Holofcener – Please Give
* David Lindsay-Abaire – Rabbit Hole
* Todd Solondz – Life During Wartime

And if you haven't seen "Winter's Bone," I really can't recommend a rental any higher. I think it's sitting on my local redbox right now, so I plan to watch it again this weekend.

Granik's film, which takes place in the Ozarks, drops you deep into a side of America that I have to assume just about anyone who happens to read this has never seen.

As it starts, Rhee Dolly (Lawrence) gets a knock on the door of the home she shares with her two younger siblings, and a sheriff's deputy says her deadbeat father, who is due in court in a few days, has put up their house as a guarantor of his appearance.

From there, it's part film noir, part coming-of-age very fast in extremely tough circumstances and all very entertaining. Just watch it already.

And all I have after that today is something that's pretty old by now, but it's so cool that I just have to finish with it. I'm pretty much resigned to the fact that I'll never be able to stop paying for HBO. "Boardwalk Empire" has just gotten better and better this fall, and shortly after wraps up will come something even better, "Game of Thrones." I still have no idea when exactly this will hit the air, but it will be in winter or spring of 2011, and you can be sure I'll be eagerly tuned in for every episode of this series based on the books by George R. R. Martin. Enjoy the trailer below, and have a perfectly passable Wednesday. Peace out.

Harry Potter and the turning point in the fight against unnecessary 3D?

Actually, the photo above, of course, has nothing at all to do with the main topic at hand, but it's so epicly good that I really couldn't think of anywhere else to start today.

In case you can't tell, it's the great Michelle Williams (easily one of my favorite young actresses) as Marilyn Monroe, and the resemblance is strong enough that it almost borders on creepy. It's from a film, shooting now, titled "My Week With Marilyn" and directed by Simon Curtis. Using the diaries of Colin Clark, an assistant on the set of the 1956 film "The Prince and the Showgirl," it tells the story of the production, which teamed Monroe with Laurence Olivier. Definitely something to keep an eye out for.

But the main event here today is what I sincerely hope will indeed be a turning point in the battle against 3D, or at least against the kind of crappy 3D conversion that's simply tacked onto too many movies after they've already been shot.

The news: The first half of "Harry Potter and the Deathly Hallows," set to come out Nov. 19, will only be released in traditional 2D and IMAX, rather than being converted into craptastic 3D.

A victory against one of the most ridiculous film gimmicks of all time? Not quite. Warner Bros. is hardly making some kind of artistic stand here - according to the studio's news release on this, they simply ran out of time.

And, making this news even more of a mixed bag, the studio still plans to convert the second chapter, set for release July 15, 2011, into 3D, which just makes the whole situation very strange.

Still and all, any time a major release (and does it get much more major than Harry Potter?) backs away from the 3D madness, I have to smile at least a little bit, no matter what the reason.

The only case of I know of in which a big-time director has so far just said no to 3D for reasons beyond simple timing is Zack Snyder's upcoming "Sucker Punch," set for release in March 2011. Last I had heard, at least, he was resisting all entreaties to mess with the mostly or perhaps now completely finished film, so here's hoping he and wife/producer Deborah keep up the good fight.

OK, enough of that. Just one more bit of good news today and then an epicly awesome trailer, because I have a full day of errands ahead of me. My wallet clearly tells me I should drop HBO, but every time I'm about to, they come up with something strong enough to keep me hooked.

Currently, "Boardwalk Empire" is even better than all the critical hype built it up to be, and though they're clearly acquired tastes, I really dig the comedies "Bored to Death" and "Eastbound and Down" too.

And now comes word of an HBO movie pairing that sounds just about perfect. I normally can only take Al Pacino in small doses, because his usual habit of simply yelling all his lines just gives me a throbbing headache, but if you re-pair him with David Mamet to tell the crazy story Phil Spector? That should indeed be a wall of awesome once it all comes together.

Finally today is the first trailer I know of for Peter Weir's "The Way Back," and you can tell already from this short footage that the movie starring Colin Farrell, Saoirse Ronan (hah, I spelled that right without cheating) and Mark Strong will be on the scale we should expect from the director of "Master and Commander: The Far Side of the World" (and oddly enough, nothing else between that 2003 film and now.) As you'll see from the clip below, the movie, set to come out soon hopefully everywhere, tells the story of a band of prisoners who escape from the Russian Gulag and then go on an epic journey back to the rest of the world. Enjoy the trailer and have a great weekend. Peace out.

When Michel Gondry met ... "The Green Hornet"?

Actually, the best news I found out there today is that Andy Richter and Conan O'Brien are going to be reunited again when Conan takes over "The Tonight Show" on June 1.

Though it was purely by coincidence, when Richter left "Late Night With Conan O'Brien" in 2000 was just about the same time I stopped tuning in loyally almost every night (having nothing to do with him, but instead because increasingly grumpy, clearly middle-aged men simply shouldn't be up that late.)

In his new role, Richter will serve as announcer but also, thankfully, participate in a lot of the sketches too. I'd much rather see him back as a traditional on-the-couch sidekick a la Ed McMahon or, well, Andy Richter, but this still will be enough to make me stay up a little later for at least the beginning to see what Conan cooks up in his new time slot.

And the weirdest thing is easily that the Humane Society gives out movie awards, including Best Picture, for flicks that it thinks address animal issues well. And the nominees (none of which I've seen) are:

"Bolt"
"Marley & Me"
"Red"
"Saving Luna"

Actually, that "Red" is one I'd like to see, and will instantly watch on Netflix soon, because I like Brian Cox in just about anything. And for one that they missed, though it just moved way too slow for my tastes, no 2008 movie better addressed the perils of dog ownership when you don't have a home for yourself than "Wendy and Lucy," which starred Michelle Williams.

But easily the coolest news out there is that Michel Gondry is now attached to direct "The Green Hornet." Take a minute to let that sink in.

It may seem odd that the director of such mind-bending flicks as "Eternal Sunshine of the Spotless Mind" and "The Science of Sleep" would take on something as silly as a superhero flick, but I think this could really work well, because if you look at two other recent flicks from Mr. Gondry, he clearly also just likes to have fun.

I own a copy of "Dave Chappelle's Block Party" on DVD, and that Gondry flick delivers just what its title promises (with some sensational music to boot.) And anyone who's seen "Be Kind Rewind" (and if you haven't, why not?) knows that he can be just as goofy as anyone when he wants to be.

So, what's up with "The Green Hornet"? Well, amazingly enough, it's set to star Seth Rogen as the titular hero (yes, really) and - even better - Stephen Chow as his loyal sidekick Kato (the role made famous by one Bruce Lee.) Rogen and Evan Goldberg, the team behind "Superbad," wrote the script. Chow was attached to direct at one point, which would have been even more bizarrely entertaining, before pulling out over "creative differences."

I know that's a lot about a movie that isn't even set to come out until June 25, 2010, so I'll just wrap this up with a clip from the "Block Party" featuring probably my favorite rap act of all, Dead Prez. If you like hip-hop, R&B (Erykah Badu, Jill Scott, Mos Def, Talib Kweli, Dead Prez, Kanye West, the Roots and even the Fugees all show up to perform here) or the humor of Dave Chappelle, I can't recommend a rental higher than I can this great little concert flick. Enjoy, and have a perfectly passable Wednesday. Peace out.

Vampires, vampires everywhere!

Eleven movies in four days is quite a bit, even for a weirdo like me, but I still have to say that the folks at the Rehoboth Beach Independent Film Festival put on one heck of a show.

I can't say any of the flicks I saw were awful, and well more than half of them were very good to outstanding. Though I'll be taking on full reviews of a few throughout the week, here's the breakdown:

Outstanding

Let the Right One In: Vampire mania is about to hit big time with something called "Twilight," which I'm way too old to enjoy, but there's another vampire movie out there now if you live in one of America's big cities (or many other places in the world) that's truly creepy. Swedish director Tomas Alfredson's "Let the Right One In" is the best horror movie I've seen in many years, and a movingly twisted love to story to boot. I'll offer a full review tomorrow, so please feel free to come back for that, but if you can, see this great flick as soon as possible. Besides, according to MTV, President-elect Obama is even reading the "Twilight" books along with his daughter Malia (as if he didn't have enough on his plate already), so maybe I'll have to give it a chance after all.

A Secret: Claude Miller's film about how World War II tore apart one family, and the personal act of betrayal at its core, is as dynamic as Truffaut flicks like "400 Blows," and I'm not exaggerating one bit when I say that.

In a Dream: This astounding documentary by Jeremiah Zagar starts out as a portrait of his father, Isaiah Zagar, who has covered 40,000 feet of Philadelphia with his beautiful mosaics. As it delves deeper and deeper, however, you get a painting of a very troubled man and the effect he has on the people all around him, including his devoted wife, Julia. Difficult but very entertaining all the same, like the best documentaries are meant to be.

The Grocer's Son: I have a fairly low tolerance for sentiment in movies unless it's delivered with a well-developed story to suit it's heart ("Chocolat," for example, is just a movie I simply can't stand.) Writer/director Eric Giuardo's simple story here is one many people will be able to relate to, about a son who returns from the city to run his father's small-town grocery after the pere suffers a heart attack. Funny, romantic and beautifully shot.

Man on Wire: The fun in this "documentary" about Frenchman Philippe Petit's high wire stunt between the Twin Towers in 1974 comes in trying to keep up with what is actual historic footage and what has been re-enacted for the sake of this movie. If that sounds corny, it really isn't. It comes off as one big trick you won't mind one bit falling for, and when you finally get to see Petit on the high wire it's well worth the wait.

Tell No One: Like "The Usual Suspects," this complicated but absorbing thriller from Frenchman Guillaume Canet is one I had to see twice to truly appreciate. After viewing it in August, I was sure the story - from a novel by Harlan Coben - just didn't add up, but after watching it again on Sunday I'm now fairly certain it does. If you can keep up, you get a flick with all the conventions of a truly mind-bending thriller, with the bonus of a great performance from leading man Francois Cluzet, action scenes that pulse with genuine intensity, and a "reveal" that just might be the best 30 minutes of film I've seen all year.

Very good

Trouble the Water: I thought that after watching Spike Lee's tremendous "When the Levees Broke" I'd never want to see another documentary about Hurricane Katrina, but husband-and-wife team Carl Deal and Tia Lessin certainly proved me wrong. Though their flick, produced by Michael Moore's shop, overreaches more than a bit, it's very effecting when it focuses on the husband and wife at its core, two people you will grow to love as you see their harrowing, handheld camera account of what it was like to be trapped in the attic as Katrina bore down on the Crescent City.

Good

Wendy and Lucy: I had extremely high hopes for this flick from director Kelly Reichardt, but I have to say it just left me more than a little cold. Michelle Williams certainly delivers a great performance as one half of the titular duo, Wendy, a truly down-on-her-luck woman who loses her dog, Lucy, and spends most of the movie looking for him. I'm really not giving too much away since not much happens in this flick at all, but I liked Reichardt's "Old Joy" quite a bit, so I'll definitely give her another chance next time.

Under the Bombs Philippe Aractingi's movie about the aftermath of Israel's 2006 bombing campaign in Lebanon certainly wasn't uplifting fare for a Sunday morning. In Lebanon's Oscar hopeful, Aractingi focuses on the story of a woman searching for her son and the cab driver who takes her on the very wild ride to try and find him. Almost all of the other "actors" who appear in the film are Lebanese people who survived the bombing campaign and tell their stories, giving the movie a very one-sided and didactic feel, even though the story has a genuine urgency to it.

Mister Foe This very odd little flick from director David MacKenzie stars Jamie Bell (yes, "Billy Elliott") as a teen with a nasty habit of spying on people and an even more troublesome oedipal complex. Even with a solid cast that includes Sophia Myles, Ciaran Hinds, Claire Forlani and Ewan Bremner (remember Spud?), this one just has a far-too-familiar feel as it tries to deal with some truly twisted subject matter.

And, finally ...

Mirageman: As silly as it is, I really can't fault this flick too much because it delivered exactly what it advertised: A Chilean flick about a superhero called, obviously, Mirageman. As our low-tech street vigilante develops into the people's hero, you do get a fairly sly commentary on tabloid news and just a fun way to spend 90 minutes or so.

I plan to write full reviews of at least "Let the Right One In" and maybe a few more in the coming days - before Bond! - so please feel free to check back, and have a perfectly passable Monday.

The Rehoboth Film Festival and "the best horror movie of the year"?

The biggest news out there today that isn't all about me is that AMC has just signed on for a third season of "Mad Men," but show creator Matthew Weiner isn't yet quite on board.

Given the run the show is on now deep in season two, I just assumed it was signed up for Weiner's planned five-year run, but I guess that shows you just how little I know about business.

As for the show itself which, if I'm not mistaken, only has two episodes left in this season, last Sunday's installment may have been the best yet. Don's first-season party with the hippies was a hoot, but his adventures in La-La land were just crazy on a whole new level (and my co-worker Karen Ludwig asked a question I have to admit had never really crossed my mind - will he come back to New York?) I have to assume so, but I can't wait for the return of "Dick Wickman" if he shows this week.

But the bad news, of course, is that even though the two sides have apparently exchanged contract offers, Weiner is not yet signed up for the further saga of the men and women of Sterling Cooper. If he were to walk, the show is clearly in good hands by now (including "Buffy the Vampire Slayer" vet Marti Noxon and "Gilmore Girls" vet Lesli Linka Glatter, among others), but it would still be a real shame. Stay tuned.

In even better news, though I haven't seen a Broadway show in years, the Great White Way is about to get a serious injection of class.

It seems that "Once," the soundtrack for which still sits on my desk at work and will surely be listened to later today, has been optioned by John N. Hart Jr., Jeffrey Sine and Frederick Zollo to turn the musical into, well, a musical. Luckily, the trio have said they expect stars/composers Glen Hansard and Marketa Irglova to be involved in the project (as stars? I'd easily pay $100 for that!) Writer/director John Carney may get in on the game too.

Best of all, it will include not only songs from the sensational movie, but also some more Hansard/Irglova tunes that didn't make the cut. In my mind, I'm definitely already there instead of heading to a 10-hour day for my fifth day of work this week!

Rehoboth Film Festival

It's really hard to complain too much, though, because the day after Barack Obama wins the election I'm headed to Rehoboth Beach, Del., for the 11th (amazing!) annual Rehoboth Beach Independent Film Festival. My brother and I had once fantasized about hitting Toronto - me for the movies and him for the soccer - but I think Rehoboth is about as glamorous as it's gonna get for me, and that's just fine.

This year's festival takes place from Wednesday, Nov. 5 to Sunday, Nov. 9, and features a host of great almost-first-run movies. Here's the schedule of what I'll hopefully be watching (assuming we can get tickets for them all), and if you live anywhere near Rehoboth (or are just curious), you can finally view the schedule in a pdf program here.

Thursday:

"Mirageman": All I really know about this one is that it's about some kind of Chilean superhero, and that's enough to get me intrigued.

"Let the Right One In": This is the "horror" movie I referred to in the title of this post, and though I'm way too old for most horror flicks, this looks right up my alley. It's apparently a Mexican movie about a young man who befriends his next-door neighbor, who just happens to be a vampire. Cool, and the trailer, courtesy of Rotten Tomatoes, is below.



"Trouble the Water": I'd have to imagine this doco will be the festival's hottest ticket, so hopefully I can get in. Given the human scale of the tragedy, I don't think I'll ever get tired of watching documentaries about Hurricane Katrina, and this one about a husband and wife who get trapped in their house looks like a real winner.

Friday:

"The Pope's Toilet": Despite the rather colorful title of this one, I'm fairly certain it won't have any images of Benedict himself doing his private business. Instead, it's a drama about the madness that surrounds a papal visit to Uruguay.

"In a Dream": I never would have guessed, but apparently Philadelphia is just a mecca for outside (and outsider) art. This particular doco looks at the work of mosaic artist Isaiah Zagar, and should just be a visual feast.

"Wendy and Lucy": I had never heard of this one, but I really like Michelle Williams, so I'm definitely in. As the titular Wendy, she shows up in Oregon with her dog Lucy to look for work. I like movies about the fringes of American life, and this one should be intriguing.

Saturday:

"Mister Foe": Young Billy Elliott (Jamie Bell) is a little more grown up now and suffering a rather serious oedipal complex. After becoming infatuated with a woman who looks like his mother, he runs off to Glasgow, and surely a lot of nifty indie rock and hopefully good filmmaking will follow.

"The Grocer's Son": My parents recommended this one, which for me makes it a must-see. It's a French flick about a city man who returns to southern France to help in his father's grocery store after the elder man suffers a stroke. Doesn't sound like exactly my cup of tea, but I love being proven wrong.

"Love Comes Lately": It looks I'm not terribly likely to get the job I applied for on a lark to be the "Film Festival Coordinator" for the DC Jewish Community Center, but I won't hold that against Isaac Bashevis Singer. This flick based on a collection of the great writer's short stories is about love, faith and - inevitably - cheating in New York City.

Sunday:

"Under the Bombs": Shot in 10 days as bombs were actually raining down on Lebanon in 2006, this drama uses non-actors to look for some answers in all that madness. Good look with that, but I'll give it a chance anyway.

"Man on a Wire": I'll hopefully close the fest with this doco about Philippe Petit's bold and crazy attempt to walk between the Twin Towers on a wire in 1974. The flick is apparently also about all the loony people who conspired with him to make this all happen, which should make for the most interesting part.

So, there you have it. Please feel free to browse through the rather impressive program and make any recommendations of flicks you may have seen but I have omitted from this list (which is not yet set in stone.)

And I'll leave with you the first 10 minutes of "Sex Drive," which I'll probably go see Sunday for a healthy dose of juvenalia after Oliver Stone's "W." on Saturday. I haven't watched it all yet, but I'm sure you'll want to wear headphones if you're watching this at work. Peace out.

First look: Synecdoche, New York

I get the feeling from watching this trailer for Charlie Kaufman's upcoming "Synecdoche, New York" that almost everyone's gonna agree he was probably better off with collaborator Spike Jonze, but so what?

After Jonze passed on this to direct "Where the Wild Things Are" (which may never even make it to a screen anywhere near you in the form that Jonze envisioned), Kaufman continued as both writer and director of this apparently rather sprawling flick, due out in at least limited release Oct. 24. And without that filter, we apparently get Philip Seymour Hoffman playing a theater director but really playing, well, Charlie Kaufman.

Anyone who's seen "Adaptation" probably agrees this can be a maddening but extremely entertaining thing to watch. In "Synecdoche, New York" (the title is apparently a play on Schenectady), Hoffman's character spends at least 17 years (guessing from a heartbreaking line that comes at the end of the trailer) building a replica of the entire city of New York in a warehouse.

According to Variety, who provided the trailer at the end of this post, the flick is an uneven meditation on life, death and anything else that crosses Mr. Kaufman's rather twisted mind, but it also "exerts sufficient power and artistic mystery to pull the willing a fair way down its twisty trail, and a first-rate cast led by Philip Seymour Hoffman and some wonderful women provide a constant lifeline even when it’s hard to know what’s going on.

When those women are Catherine Keener, Jennifer Jason Leigh, Michelle Williams, Samantha Morton and Dianne Wiest, I'm definitely along for the ride, no matter how ponderous it gets (and even if I have to drive to Atlanta to see it.) Anyways, that's enough prattling on from me. Enjoy the trailer, which although it's often too dark to make out is still enough to get me geeked up for this one, and have a perfectly pleasant weekend.