Mr. Incredible's trip down memory lane.

Verdict: Worth it. The art on the Incredible magazine covers is absolutely frame worthy.

2012 had crazy Woody and his pull-down chart of conspiracy. Planning to write about climate change? Whoops, you're now dead — see, he put a line through each scientist's name.

Verdict: Worthless, the wall of clippings and the crazy person blog was overkill. But then again this is 2012, so at least it's staying in its wheelhouse.

Mulder's office is papered with clippings and UFO sightings in the last X-Files film, thus hitting us over the head one last time with the fact that he's a BELIEVER.

Verdict: Worthless. Anyone going to this movie already knew all about Mulder's beliefs. They didn't need the "crazy obsession" wall, but they can keep the wrinkled poster from the original X-Files show.

In The Children of Men you get a quickie recap, not only of the Jasper character and his comatose wife but of the present day situation as well.

Verdict: Worthless. If Jasper's wife was indeed tortured by the oppressive new government regime, would they really keep the giant reminder posted on their wall of that horrible experience? Go on down the line, lovely pictures of friends, interesting and telling news clips of something they probably worked on, awards explaining their characters — and then a giant full-page story detailing the brutal torture your wife, thus making her completely unresponsive. Ah, memories.

Here's another newspaper moment in Children of Men that wasn't really used to portray obsession or honor, but it was nice that the production crew made sure all the headlines were relevant to the story.

Verdict: Worth it, even if it was just an aesthetic.

Halloween! Michael will never die, and neither will his victim's memory of him.

Verdict: Worth it. It's a horror movie, it's expected.

The Hills Have Eyes remake had a quickie wall of foreshadowing, and filled us in that the Hills were definitely full of mutant kid eyes.

Verdict: Worth it, it was great build up to the horrible nuclear family reveal. That little girl haunted me for days, and I needed a little build-up to the character, cliché though it may be.

Whip Lash's lair in Iron Man 2 is all about obsession.

Verdict: Worthless, for now. Until we see more. We didn't need the clippings to prove that Whiplash wants to kill Tony, because all he literally does, from the looks of things, is try to kill Tony. But maybe it will flesh out some backstory , although it's highly unlikely as all those clippings are pretty modern.

Mr. Glass' wall of destruction in Unbreakable.

Verdict: Worthless and Worth It. Samuel L. Jackson was scary enough in this as is, but it did help catch you up if you hadn't already called him as the bad guy hours earlier. Also, I believe there may be some flaws in these clips.

Original Nite Owl's den was a museum to Watchmen.

Verdict: Worth It. This is the kind of thing director Zack Snyder excels at. And when it's good it's very, very good. Everything on this wall has a back story. Even with its other shortcomings, Watchmen did have a very well thought-out set. Even if it was ripped from the novel, it looked good.

Willy Wonka's pops reveals to the audience that he didn't hate his son at all, because he framed all his newspaper articles. This was actually more creepy than exciting, but then again it is the remake of Willy Wonka, where Depp gives pale death face smiles for half the film, so it least it fits the tone.

Verdict: Worth it, since it fits in with the crazy theme of the film.

Whether Avatar is racist is a matter for debate. Regardless of where you come down on that question, it's undeniable that the film - like alien apartheid flick District 9, released earlier this year - is emphatically a fantasy about race. Specifically, it's a fantasy about race told from the point of view of white people. Avatar and scifi films like it give us the opportunity to answer the question: What do white people fantasize about when they fantasize about racial identity?

Avatar imaginatively revisits the crime scene of white America's foundational act of genocide, in which entire native tribes and civilizations were wiped out by European immigrants to the American continent. In the film, a group of soldiers and scientists have set up shop on the verdant moon Pandora, whose landscapes look like a cross between Northern California's redwood cathedrals and Brazil's tropical rainforest. The moon's inhabitants, the Na'vi, are blue, catlike versions of native people: They wear feathers in their hair, worship nature gods, paint their faces for war, use bows and arrows, and live in tribes. Watching the movie, there is really no mistake that these are alien versions of stereotypical native peoples that we've seen in Hollywood movies for decades.

And Pandora is clearly supposed to be the rich, beautiful land America could still be if white people hadn't paved it over with concrete and strip malls. In Avatar, our white hero Jake Sully (sully - get it?) explains that Earth is basically a war-torn wasteland with no greenery or natural resources left. The humans started to colonize Pandora in order to mine a mineral called unobtainium that can serve as a mega-energy source. But a few of these humans don't want to crush the natives with tanks and bombs, so they wire their brains into the bodies of Na'vi avatars and try to win the natives' trust. Jake is one of the team of avatar pilots, and he discovers to his surprise that he loves his life as a Na'vi warrior far more than he ever did his life as a human marine.

Jake is so enchanted that he gives up on carrying out his mission, which is to persuade the Na'vi to relocate from their "home tree," where the humans want to mine the unobtanium. Instead, he focuses on becoming a great warrior who rides giant birds and falls in love with the chief's daughter. When the inevitable happens and the marines arrive to burn down the Na'vi's home tree, Jake switches sides. With the help of a few human renegades, he maintains a link with his avatar body in order to lead the Na'vi against the human invaders. Not only has he been assimilated into the native people's culture, but he has become their leader.

This is a classic scenario you've seen in non-scifi epics from Dances With Wolves to The Last Samurai, where a white guy manages to get himself accepted into a closed society of people of color and eventually becomes its most awesome member. But it's also, as I indicated earlier, very similar in some ways to District 9. In that film, our (anti)hero Wikus is trying to relocate a shantytown of aliens to a region far outside Johannesburg. When he's accidentally squirted with fluid from an alien technology, he begins turning into one of the aliens against his will. Deformed and cast out of human society, Wikus reluctantly helps one of the aliens to launch their stalled ship and seek help from their home planet.

If we think of Avatar and its ilk as white fantasies about race, what kinds of patterns do we see emerging in these fantasies?

In both Avatar and District 9, humans are the cause of alien oppression and distress. Then, a white man who was one of the oppressors switches sides at the last minute, assimilating into the alien culture and becoming its savior. This is also the basic story of Dune, where a member of the white royalty flees his posh palace on the planet Dune to become leader of the worm-riding native Fremen (the worm-riding rite of passage has an analog in Avatar, where Jake proves his manhood by riding a giant bird). An interesting tweak on this story can be seen in 1980s flick Enemy Mine, where a white man (Dennis Quaid) and the alien he's been battling (Louis Gossett Jr.) are stranded on a hostile planet together for years. Eventually they become best friends, and when the alien dies, the human raises the alien's child as his own. When humans arrive on the planet and try to enslave the alien child, he lays down his life to rescue it. His loyalties to an alien have become stronger than to his own species.

These are movies about white guilt. Our main white characters realize that they are complicit in a system which is destroying aliens, AKA people of color - their cultures, their habitats, and their populations. The whites realize this when they begin to assimilate into the "alien" cultures and see things from a new perspective. To purge their overwhelming sense of guilt, they switch sides, become "race traitors," and fight against their old comrades. But then they go beyond assimilation and become leaders of the people they once oppressed. This is the essence of the white guilt fantasy, laid bare. It's not just a wish to be absolved of the crimes whites have committed against people of color; it's not just a wish to join the side of moral justice in battle. It's a wish to lead people of color from the inside rather than from the (oppressive, white) outside.

Think of it this way. Avatar is a fantasy about ceasing to be white, giving up the old human meatsack to join the blue people, but never losing white privilege. Jake never really knows what it's like to be a Na'vi because he always has the option to switch back into human mode. Interestingly, Wikus in District 9 learns a very different lesson. He's becoming alien and he can't go back. He has no other choice but to live in the slums and eat catfood. And guess what? He really hates it. He helps his alien buddy to escape Earth solely because he's hoping the guy will come back in a few years with a "cure" for his alienness. When whites fantasize about becoming other races, it's only fun if they can blithely ignore the fundamental experience of being an oppressed racial group. Which is that you are oppressed, and nobody will let you be a leader of anything.

This is not a message anybody wants to hear, least of all the white people who are creating and consuming these fantasies. Afro-Canadian scifi writer Nalo Hopkinson recently told the Boston Globe:

In the US, to talk about race is to be seen as racist. You become the problem because you bring up the problem. So you find people who are hesitant to talk about it.

She adds that the main mythic story you find in science fiction, generally written by whites, "is going to a foreign culture and colonizing it."

Sure, Avatar goes a little bit beyond the basic colonizing story. We are told in no uncertain terms that it's wrong to colonize the lands of native people. Our hero chooses to join the Na'vi rather than abide the racist culture of his own people. But it is nevertheless a story that revisits the same old tropes of colonization. Whites still get to be leaders of the natives - just in a kinder, gentler way than they would have in an old Flash Gordon flick or in Edgar Rice Burroughs' Mars novels.

When will whites stop making these movies and start thinking about race in a new way?

First, we'll need to stop thinking that white people are the most "relatable" characters in stories. As one blogger put it:

By the end of the film you're left wondering why the film needed the Jake Sully character at all. The film could have done just as well by focusing on an actual Na'vi native who comes into contact with crazy humans who have no respect for the environment. I can just see the explanation: "Well, we need someone (an avatar) for the audience to connect with. A normal guy will work better than these tall blue people." However, this is the type of thinking that molds all leads as white male characters (blank slates for the audience to project themselves upon) unless your name is Will Smith.

But more than that, whites need to rethink their fantasies about race.

Whites need to stop remaking the white guilt story, which is a sneaky way of turning every story about people of color into a story about being white. Speaking as a white person, I don't need to hear more about my own racial experience. I'd like to watch some movies about people of color (ahem, aliens), from the perspective of that group, without injecting a random white (erm, human) character to explain everything to me. Science fiction is exciting because it promises to show the world and the universe from perspectives radically unlike what we've seen before. But until white people stop making movies like Avatar, I fear that I'm doomed to see the same old story again and again.

Dune image via leywad.

Uh oh, Pepper looks pissed. And Tony looks alone. What happened to all his friends?

Garry Shandling makes his big debut as Senator Stern, so Tony mocks him, naturally.

See Tony is alone. Empty chairs. Empty soul. It's lonely at the top.

But wait, it's Rhodey, he's back...and he looks pissed. And who's that to Rhodey's left? It's Sam Rockwell, as Justin Hammer. Did they walk in together? And where did Pepper go? Where's Happy?

Same sexual chemistry between Pepper and Tony, check. But then again I think RDJ is so charming he could have chemistry with a lamp post... lucky lamp post.

Iron Man is America, and a rock star. And look in the background — it's the Iron Man dancers, thus proving the slutty Halloween rule to be true: any outfit can be made whorish.

These gloves could very well be the best little party favors ever. Please hand these out at Comic Con!

Whiplash is obsessed. See? See? He has newspaper clippings. And newspaper clipping are to stalkers what glasses are to shy mousy girls with a hot girl dying to get out inside: stereotypical. But let's assume that since he's spent so much time cataloguing the family story, that this grudge may go way, way back. Since he's had time to make a scrap book.

Who hit Tony?

The garage is all cleaned up and stocked with new rich guy toys. Bruce Wayne who?

What is happening to Tony's neck?

Yikes it's spreading. Tony is literally turning into an Iron Man. Also, he could be turning into a human computer, which has happened in the Iron Man comics before.

More Justin Hammer, and in perfect timing with Whiplash's "shark" comment.

Nick Fury just wants to get motherfucking Tony onto the motherfucking team.

More Iron Man-ettes. I suspect this may be a banner year for the cosplay fans.

Scarlett Johansson as Natasha Romanoff in her Black Widow "business casual" attire.

War Machine prototype!

Is the Black Widow working for Rhodey? Is that her in the background?

Black Widow in her ass kicking attire, is she beating up Happy? I bet Jon Favreau just loved that.

Whiplash finally shows us what his lightsaber whips can do — which is break Tony's car.

Which he does.

I'm still not sold on the Whiplash outfit, but it does look pretty bad ass from behind.

Uh oh — will Tony be Whiplashed in half, or will the bad guy just show off some more? Answer: Show off.

Whiplash has nasty metal mouth.

What is this flying contraption? It looks like it's shooting at Iron Man? Multiple Mecha suits?

A first look at War Machine, and Tony's new suit, with a triangle chest plate. Is this due to the metal veins? Also the background is filled with power suits, almost like an Armor War...

War Machine and Tony fight other mechas and you get a faceful of War Machines shoulder gun, and Tony's fully reconstructed suit, Mark VI. Very nice. So who thinks they are filming the Armor Wars story?

Honestly, trimming down bad acting moments throughout Nic Cage's career may just be one of the hardest jobs in editing.

For our masochistic readers, clips sourced from: Vampire's Kiss, Con Air, National Treasure 2, Ghostrider, Snake Eyes, Wicker Man, City of Angels, and The Rock.

Sincerest apologies go to all the interns who were forced to watch these movies.

John Koblin reports that Andrew Rossi, the filmmaker associate producer behind Control Room (which was excellent), is now working on a documentary about the NYT's media desk. Hardworking multimedia jackanape Brian Stelter describes some of the action footage that is already accumulating in the filmmaker's archive:

"He watches me edit, watches me write, watches me write emails, watches me tweet, watches me do interviews," said Mr. Stelter. "There are some days that are going to be more exciting."

Well. It's, ah...more interesting than our average work day, at least. So...put it on your viewing schedule!

Universal decided to promote its movie "Fourth Kind," about real live actual alien abductions in Alaska that actually happened, by publishing a fake archive of fake news stories from real Alaska papers, purporting to report on the fake things that happened in the fake movie. Then the real Alaska papers were like, whoa, hey, pretty sure we didn't write any real obits of fictional characters lately, and Universal was like, ha, you're right, we're giving $20k to the Alaska Press Club to show you how sorry we are. The studio also vowed to pull all the fake stories off the internet, but, of course, you can still find some cached on Google.

The Tribune Co. is very interested in expressing outrage over any Hollywood movies that may choose to use fake LA Times headlines to recount any imaginary tales of murder, scandal, or disaster, whether human or alien. Call them.

Using scores from Metacritic, Miller-McCune weighted the critical scores of actors' movies with the relative size of their roles in those movies. The final list shows that everyone who was in Lord of the Rings is an awesome actor with great taste in projects, with Elijah Wood topping the list and Viggo Mortenson and Ian Holm (the British geezer who played Bilbo Baggins) making the top four, too. Philip Seymour Hoffman is as serious an actor as you think he is, and Jessica Alba is as big a hack. Bottoming out the list was Freddie Prinze, Jr., followed by someone named Eddie Griffin and a tragic Matthew Lillard who had so much potential, once. Here's an abridged sampler:

Equally interesting was scatterplot showing the relative niceness and consistency of America's 25 most prolific movie critics. We discover that the Chicago Tribune's Michael Wilmington drinks the kool-aid more than any other critic, followed by the Chicago Sun-Times' Roger Ebert's perennially upraised thumbs. The meanest critic in America is the Austin Chronicle's Marc Savlov, who gives low scores but deviates regularly. On the other hand, TV Guide's Maitland McDonagh gives low scores and has a relatively low standard deviation from her mean score, meaning she's always stone cold.

[Miller-McCune]

[Tells some story of this girl in a bar who totally loves him, like, so much, but doesn't know about the movie]. I mean, when someone who identifies themselves as a huge fan, who has read the book and passed it to their friends and self-identifies as this type of person, when the movie is IN THEATERS and they don't even know there is a movie at all…that is a complete failure in the publicity and marketing of the movie...
I don't want to go through it, because it'll just be depressing, but the failures in marketing were just…big. Unrecoverable.

I would have guessed "Because it was awful." But I'm no Tucker Max.
[Pic: Flickr]

The Financial Times reports that the rights to the Terminator kingdom — films, TV shows, ringtones, pajamas, you name it — will be put on the block this month, with Sony the front-runner to take home the goods.

While the original films, and T2 in particular, were powerhouse earners in their day, after the franchise lay dormant for a decade, attempts to reboot have been spotty.

2003's Terminator 3 did not turn out to be the artistic or box-office bomb that many feared, but shortly after that film's release producer Mario Kassar sold off the franchise to the all-but-unknown unknown Halcyon Entertainment, which created a forgettable TV series and an abysmal McG directed film, Terminator Salvation.

Halcyon has now been driven to Chapter 11, which led to the court-directed auction of its assets, primarily poor forgotten Terminator.

Fortunately for the sad little franchise, any idea that has any sort of merchandiseable juice behind it is nothing to be sneezed by a teetering Hollywood, grabbing for any thin reed they can. And in fact, despite being battered and bruised, Terminator remains a fairly lucrative cash cow, with the full Salvation take, all told - international, DVD, etc at more than $375 million. A few weeks ago the Mutant Ninja Turtles sold off for $60 million and it certainly seems plausible that
Terminator could fetch a higher price tag than that.

And with Arnold leaving the Governor's office in just over a year... it might be time for the world to say "Hasta la vista baby" all over again.

100% straightperson Tom Cruise "made constant, constant unrelated homophobic comments on the set of Risky Business according to Bronson Pinchot, who played Balki Bartokomous on the 80's sitcom Perfect Strangers. Balki says Cruise "always talked about himself like he was a mega-superstar" and called his co-stars by their characters' names off-camera. Oh, also, Balki has some straight to video DVD or something coming out. [Onion]

Octomom told her paparazzi friends that she thinks Jon Gosselin is way hot. This could lead to the most awesome media freak show train wreck of all time. Jon has been going for 20-something casting call reject types since his divorce, but the potential publicity surrounding an Octomom encounter might convince Jon to go for her. He just lost his show and fame has always seemed to be his first love. They could start dating and pitch some bizarre eighteen headed monstrosity of a reality show. It would be like a very 2009 version of The Brady Bunch. It would sure pay for a whole lot of Ed Hardy gear. [E! Online]

Salman Rushdie is a "cowardly, dysfunctional and immature" man who breaks up with women over e-mail and is still obsessed with his former flame Padma Lakshmi. All of this information comes to us courtesy of Rushdie's latest ex, Broadway actress Pia Glenn, who is clearly over it and in a very healthy place now. [Page Six]

Britney Spears' next video is an "ode to threesomes." If this blatant ploy for attention doesn't work, Britney might have to start shaving her head and going on umbrella rampages again. [Page Six]

Judges want Roman Polanski to stay in jail while the US government works on getting him extradited from Switzerland to face his conviction for raping a 13 year-old girl in 1977. A Swiss court denied Polanski bail and house arrest because they say the 76 year-old director poses a high flight risk. Polanski has lots of famous friends who think he shouldn't serve time because he makes nice art, has lots of money, and hangs out with them at parties. Some of his sympathetic celebrity buddies might have private planes, so keeping Polanski locked up is probably smart. [NYT]

Balloon Boy's dad Richard Heene was reported to child services a few years back. Heene responded by trying to take out a restraining order on the former business associate who made the report. It seems Heene doesn't mind dealing with the reptilian alien shadow government if they can help him harass his enemies. [TMZ]

According to the Hollywood Reporter, the latest round of layoffs brings the company's total payroll down to 70 or 80. Just for perspective, Nikki Finke reported that they had 224 staffers in November 2008. How many more tear-filled dinners can they stand before they go from the Weinstein Co. to just the Weinsteins?

There is probably nothing more enjoyable on the internet today than to contrast the movie I saw with the reviews of said movie by the only other people in America who saw it: the hardcore Tucker Max fans who frequent his message boards. Never let it be said that we don't provide space for differing opinions.

1. "The comedic value isn't what sets the movie apart to me, it's the fact that it actually has a soul. When I walked out of the theater I wasn't really thinking about how funny it was, I was thinking about friendships I've had in the past that I screwed up or have lost - it made me introspective."

2. "Much in the same way 'fratire' became a new genre, Tucker made this movie from a completely different mold. And, he deserves to be evaluated on that basis."

3. "Tucker and Nils could make 10 sequels to IHTSBIH and they'd still be funny so long as the dialogue didn't repeat. Because that's where the humor was derived: the fucking English language. Crazy concept, right?"

4. "I think you infused the right amount of slapstick, physical comedy (the shit scene, Dan pissing on the cops) into the movie. I like it when you can laugh at two very different levels of humor in the same flick."

5. "I've seen Tucker on camera many times, but it was weird to see him in a movie about him...with him not playing...him. And was it me or was he overacting that role like a motherfucker in the background of those scenes? Haha, nah, you were good dude."

6. "Expected more laugh out loud moments in the movie, but that was mostly from my high expectations. I rarely laugh out loud in movies, but I remember I did during the shit scene and the scene with Drew strangling Lara. A few of the one liners like 'You smell like you got buttfucked by a garbage truck.'"

7. "Take Drew. Not a single person who's criticized the Drew/Lara relationship has mentioned a characteristic of his other than that he "hates women," a fact that shows a deep misunderstanding of the character and relationship. Drew is bitter because he's fucking hurting. He is a very deeply moral character. He clearly puts a lot of weight on trust: he won't lie for his friends because Dan's fiancée trusts him and he will not undermine that. To not have that same trust reciprocated in a relationship as involved as the one he just got out of is fucking devastating.
To give someone your all, to buy them his and hers chairs to play video games in, to so let them into your life, only to catch them sucking off a fucking rapper on your couch? The damage that does to his emotional health is so palpable it's ridiculous. Some of the shots of Jesse reacting to Lara and the kid back at their house are priceless. Bradford does such a good job letting that pain and longing simmer. Chills."

8. "I loved the fact that even though I didn't find it funny, I was only bored during one scene."

9. "We've been so conditioned to see people dodging wrenches to practice dodging a ball, Asian gangsters in car trunks, and Jason Biggs sliding to home plate with a pie that when we see flaming Dr. Peppers we probably expected someone or something to catch fire for some cheap laugh. Instead we heard "So who's the slutty one?" said to a bachelorette party. The line – like the entire tone of the movie – is in your face and that artistic choice is so different the combination is unsettling to some people, but funny to nearly everyone."

10. "In a few years, when critics look at the IHTSBIH franchise as a whole, they're going to be eating a lot of crow. Not because they wrote bad reviews (this movie, like every other movie, has its flaws), but because they failed to miss the "experience" aspect all together. In the same way that George Lucas generated long-term success for Star Wars with cutting-edge movie-making technology, IHTSBIH will ultimately succeed as a franchise and a brand because it completely redefined what it means to "experience" a movie. That's why it's unfair to compare this to any other film. It isn't like them."

• Erin Andrews, the ESPN reporter who was filmed in a bathroom, thanked police officers for their "dedicated service"in nabbing the perv and promised to use the scandal for good, not evil: "I will make every effort to strengthen the laws on a State and Federal level to better protect victims of criminal stalking." [ET]
  
  
• Seth Rogen got Kevin Smith to start smoking pot, now Smith smokes three times a day and encourages you to do the same: "Do weed! Don't do the other stuff, but weed is good." [Page Six]
  
  
• Chris Noth and his lady love, Tara Wilson, are engaged. Pathetic women everywhere are finally snapping out of their "Mr. Big" fantasy. [ET]
  
  
• The alcoholic mother of the HIV-positive baby Elton John wants to adopt swears she won't let the pop star have his way. That's fair. [The Sun]
  
  
• Madonna's daughter yucked it up for the paps while walking around New York with her pop. [Daily Mail]
  
  
• Don Imus starts his simulcast on Fox Business today, and he's sure the struggling cable channel's the place for him because, he says, it's not corrupt, like NBC. Oh, snap! [NYDN]
  
  
• Actor Tony Roberts, perhaps best known for his roles in Woody Allen movies, like Hannah and Her Sisters, has been hospitalized, thus holding up the preview of his Broadway revival, The Royal Family. [AP]
  
  
• The whole world knows that Eddie Cibrian and his wife are splitting up because he was screwing LeAnn Rimes, but don't worry: the couple puts on a happy face for the children. They're too young to read tabloids, anyway. [People]
  
  
• Happy 40th birthday, Gwen Stefani! [People]
  
  
• Desperate Housewives of Atlanta star Kandi Burruss has released a more detailed statement following the death of her former fiance, AJ. And, as you can imagine, she's "devastated." "My heart is heavy with grief," she says. [Us]

It wasn't much of a surprise when it was announced that Disney would be "restructuring" Miramax down to three films a year and cutting their staff by 70%.

When Disney studio chief Dick Cook was ousted last week, it was pretty common knowledge that an absent Cook, who was long a proponent of keeping the Miramax brand alive, certainly wasn't going to help things. Miramax hasn't been sufficiently profitable for a while, at least by Disney's standards. Sure, they've turned out some quality films over the last few years (No Country for Old Men, There Will Be Blood) but most people attribute those victories to New York's Worst Boss '07, producer Scott Rudin, and not Miramax head Daniel Battsek, the Brit who couldn't zero in on American tastes without the help of producers like Rudin: ears for quality and easy ins to studios. Miramax has also had far more than their fair share of failures lately, which the LAT report nicely reduces to their most recent three (Extract, Cheri, and The Boys Are Back). Are we forgetting Adventureland, Eagle vs. Shark, Blindness, etc? Because, well, we shouldn't.

These are mostly expensive films with fairly "bankable" stars being trotted out as "independent" fare, or as the LA Times enjoys calling it: "smaller, offbeat movies," which is a nice euphemism for anything that doesn't have a nailed-down demographic of conspicuous consumers (or, for that matter, teenagers). But big studio dramas used to do really well! Remember the 90s? Braveheart, Schindler's List, American Beauty, Gladiator: these films used to win box offices and Oscars. Not anymore. In their place are smaller affairs: The Reader, Crash, Revolutionary Road. Restrained pieces of moviemaking that aren't as epic as their history would suggest. Times change.

Picturehouse, Warner Independent, and now, Miramax: all of these were so-called "specialty division" studio-within-studios that failed. They were built up to lure stars with the promise of getting their art-house rocks off in exchange for a multi-picture deal involving a blockbuster. Why? Because, for studios, they weren't worth the cost of the money they were losing devoting resources to making or acquiring and marketing these mostly unprofitable movies. So: studio indies are coming to an end. Thank god.

Miramax got their name by making movies like Swingers and Pulp Fiction. They stumbled upon raw talent who could make an incredible movie on the cheap, and the profits were extraordinary. When you have the backing of a studio like Disney, or Warner Bros, that's never going to happen. As much as they probably enjoy the schadenfreude of Disney fucking up their baby, even The Weinstein Brothers, still hopped up on the memories of their last moneyed days with Disney, are now caught between pissing cash into the wind on highbrow stuff, or focusing on making more stuff like Halloween 2. Layoffs are impending for Miramax employees who once thought they had the safety of a studio that cared about "good" movies. Disney's commitment to "quality" extends as far as their bottom line, like so many other multinationals trying to turn a buck.

Independent film used to be a game of digging through the dark to find something incredible, and that might be what it's returning to. Hollywood's new producers are savvy to New Media marketing games; they know how to make good films while keeping the kitchen sink. We can try to avoid the symbolism of Miramax's doom as much as we want to, but in the end, it's simple: conglomerates are out of the art-house game, which means its full-on open season for underdog movies again. Let the new Weinsteins emerge.

What is it with living man's attraction the undead? Countless cultures have myths surrounding the reanimated. Afro-Caribbean societites are given credit for unleashing the mindless masses into the mainstream, but many societies shop in the undead. And, of course, movie lovers are no exception.

Every since Night of the Living Dead, we've been salivating over tales of humans who have to face their lifeless, brain-eating peers. We could tally the dozens of movies with the word "zombie" in their title, but we suspect that you, dear reader, are well aware of the selling points.

Horror flicks peddle in fear of the unknown. That's just how they work. And zombies are reliable precisely because we think they could never be; but could we be wrong? There's no actual proof to, well, prove that zombies could never come into being. On the contrary...

Conspiracy lovers believe that the Russians reanimated a dog back in the 40s, when they were all communist and shit. Scoff all you want, but even capitalist scientists are looking into turning back the death clock.

The University of Pittsburg isn't the most revered institution in the land, but it hosts a place called the "Safar Center for Resuscitation Research," which examines all the ways in which science can trump nature and revive the living. They've been working on dogs, but could humans be far off?

A website called cracked offers some other scary research, like neurogenesis, which looks into ways to reanimate dead brain cells. Meanwhile, scientists are using stem cells to take components from dead embryos and create living tissue. Lots of people are scared of these scientific advancements. And perhaps they should be, but those debates eschew a larger, perhaps uncomfortably metaphysical question.

In the end, aren't our popular or scientific fascinations and pursuits with all things zombie motivated by an equally mythical thing: the soul? Even if you claim to be an atheist or, damnation, agnostic, isn't the real scare in zombie lore that someone — a person with friends and family — could return with no apparent loyalty? And couldn't that "loyalty" be called a soul?

We don't know — what do we look like, God? — but we do know that this long-held obsession points to a collective compulsion to overcoming nature's ultimate obstacle, death. And that's always entertaining.

Box Office Mojo sez: It opened on 120 screens and raked in a total of $369K, for an opening weekend average of $3,075 per screen. That puts Tucker's movie eighth in per-screen revenue out of the nine movies that opened last weekend. Although he came close to matching the $3,100 per screen average of Blind Date (2009).

But sometimes critically acclaimed films don't have boffo box offices. It's just the nature of high art. Let's go to the reviews:

• Reuters: "the film is unfunny from first minute to last, and its half-hearted attempts at emotion merely underscore its general loathsomeness."
• USA Today: "This unfunny, über-misogynistic adaptation of Tucker Max's audacious best-seller of the same name is unlikely to please anyone."
• Chicago Tribune: "The result just might be the most hypocritical feature in the history of film as well as the history of hypocrisy, and along with serving beer, I hope they show 'I Hope They Serve Beer in Hell' in hell."
• San Francisco Chronicle: "That was epic, bro. You should make a movie ...No, you shouldn't! Put down the digital camera, step away from Robert McKee's guide to screenplays, and get back to ramming your head through Sheetrock during spring break."
• New York Times: "a mediocre gross-out movie that barely pushes the envelope."
• Boston Globe: "Ridiculously cheap-looking, smug, scurrilous, but fairly evolved for a project so fundamentally unevolved."

Moore's press train began last week on Good Morning America, when he took some time to rail against the show's use of "permalancers," a group that's basically permanent, but don't get the benefits and, therefore, count as the underdog. It was all very amusing and true, and provided Moore with a great excuse when CBS "canceled" his appearance on tomorrow's Early Show. From a tweet Moore posted Sunday morning:

Backlash Begins: CBS has cancelled [sic] me on its Mon. morning show. After I criticized ABC/Disney on GMA, they didn't want me to do same to CBS.

While that could be true, CBS bookers tell media scallywag Rachel Sklar that they never booked him. Moore's people, though, tell a different story: they were negotiating a firm date with CBS, but then CBS got all diva about getting the sit-down after GMA already landed Moore:

I can accurately say that the bookers who book the show have definitely been in discussion with us to have him on the show. When we attempted to confirm the booking they said they didn't want to follow GMA.

Hmmm. So, Moore, we're assuming, knew CBS had said they didn't want to follow GMA, but tweeted that the network was scared of his inflammatory nature. Why are we not surprised?

Anyway, Moore's assertion, however valid, only brings the spotlight back to him, which is good when you're promoting a movie. And the movie's doing well, by the way: it opened with about $306,000 on four screens. That's the higher per-theater average for the year. Love him or hate him, Moore's a hit machine.

Did CBS Cancel Michael Moore? [Mediaite]

• "We made this movie for the same reason that we create all of our art; because we love it"
• "There is no number or level of success that would make me think, 'Wow, I didn't think that was possible.'"
• "My writing is authentic and whatever happens in my life is what I write about."
• "Now, I'm more like a smart missile."
• "We also wanted to make it feel realistic."
• "everyone just assumes it's going to be a success."

We all remember the Texas-born Swayze from his roles in Dirty Dancing and Ghost, but the actor's real break came from the television adaptation of North and South, a Civil War drama. The actor went on to star in a number of hits, like Point Break.

While we all have fond memories of Swayze's silver screen hits, we are most impressed by his courageous cancer battle. Though he knew his days were numbered, Swayae signed on to star in A&E's The Beast. And, honestly, whatever you'll say about the show, his gumption was commendable. We've previously honored Mr. Swayze with a video tribute, but here;s our absolutely favorite performance from Dirty Dancing, the sleeper hit that helped make him a star.

RIP, Patrick. You touched many lives and, as cynical and mean as we may be, will always be adored

Despite the fact that On The Origin of Species has won a Toronto film festival award and debuts in Britain this week, U.S. distributors have declined to take up the flick, which chronicles scientist Charles Darwin's crusade to bring modern science, common sense and progress into all of our lives. And, yes, diehard Christians are to blame:

Movieguide.org, an influential site which reviews films from a Christian perspective, described Darwin as the father of eugenics and denounced him as "a racist, a bigot and an 1800s naturalist whose legacy is mass murder". His "half-baked theory" directly influenced Adolf Hitler and led to "atrocities, crimes against humanity, cloning and genetic engineering", the site stated.

The film, which stars Paul Bettany and his wife, Jennifer Connelly, has sparked fierce debate on US Christian websites, with a typical comment dismissing evolution as "a silly theory with a serious lack of evidence to support it despite over a century of trying".

The movie, made by filmmaker Jeremy Thomas, concerns Darwin's own personal struggle within his scientific efforts, yet, for some reason, Americans are holding up the flick's release. Because, you know, over a century after evolution's discovery, England's offspring can't wrap their heads around a little thing called progress.

It's sad, really, for we always make hay over the fact that we're highly-evolved politically, yet, in reality, we're a bunch of backward brutes who can't see things from a different angle. Disgraceful, really...

Image via Juan Eduardo Donoso's flickr.

So! Megan Fox was promoting Jennifer's Body, the new Diablo Cody monster whatever movie. Wonderland magazine asks her about Transformers 2, and she goes off the reservation on Michael Bay:

God, I really wish I could go loose on this one. He's like Napoleon and he wants to create this insane, infamous mad-man reputation. He wants to be like Hitler on his sets, and he is. So he's a nightmare to work for but when you get him away from set, and he's not in director mode, I kind of really enjoy his personality because he's so awkward, so hopelessly awkward. He has no social skills at all. And it's endearing to watch him.

Now, while Megan Fox is trying to cement her reputation as a ridiculously inaccessible super rad badass post-femme hottie goddess rockbitch (or whatever Diablo Cody would call it) by basically calling Michael Bay a small-dicked boy with big explosive toys, a bunch of Michael Bay crewmembers—Or fanboys! Or both!—posted a letter on a Michael Bay message board. They write:

Megan has the press fooled...we have never understood why Megan was always such – the grump of the set?

...When facing the press, Megan is the queen of talking trailer trash and posing like a porn star. And yes we've had the unbearable time of watching her try to act on set, and yes, it's very cringe-able. So maybe, being a porn star in the future might be a good career option. But make-up beware, she has a paragraph tattooed to her backside (probably due her rotten childhood) easily another 45 minutes in the chair

Yes! Written like true techies. She's got a tat? Call her trailer trash! And again:

Megan says that Transformers was an unsafe set? Come on Megan, we know it is a bit more strenuous then the playground at the trailer park, but you don't insult one of the very best stunt and physical effects teams in the business! Not one person got hurt!

And who is the real Megan Fox? She is very different than the academy nominee and winning actors we've all worked around. She's as about ungracious a person as you can ever fathom.

Yeah, well, we imagine that's the case with everyone. What say you of franchise star Shia LaDouche? Exactly. Furthermore!

The press certainly doesn't know her most famous line. On our first day in Egypt, the Egyptian government wouldn't let us shoot because of a permit problem as the actors got ready in make up at the Four Seasons Hotel. Michael tried to make the best of it; he wanted to take the cast and crew on a private tour of the famous Giza pyramids. God hold us witness, Megan said, "I can't believe Michael is fucking forcing us to go to the fucking pyramids!" I guess this is the "Hitler guy" she is referring to.

Okay, that's just funny. So! Word of the letter leaks out. Sister Jez gets to it, Michael K at D-Listed gets to it with his own analysis:

The letter is supposed to make you want to run for president of the I HATE MEGAN FOX fan club, but it actually makes me kind of like her stupid ass for a quick minute. I mean, she's dumb, she's a slut and she's a bitch. The dumb slutty bitch is my kind! It's like we were separated at the free clinic!

God, he's a poet. And for a moment, this struggle of two work cultures—the "talent" culture, and the "techie" culture, this ages-long Hollywood battle over the value of diva actors and the work they do and the class struggles that exist between them—it hung in the air, dangling over the edge of becoming an all-out war, like an Autobot teetering on the precipice of a cliff, about to fall into the Grand Canyon, when Michael Bay, the great negotiator, stepped in. The letter was removed from the site! Forget for a moment that D Listed has it up, Just Jared still has it, and Google has it cached, and read into the great peacemaking the Michael Bay doth purport, on his site:

I don't condone the crew letter to Megan. And I don't condone Megan's outlandish quotes. But her crazy quips are part of her crazy charm. The fact of the matter I still love working with her, and I know we still get along. I even expect more crazy quotes from her on Transformers 3.

Michael

Genius. This is the man who brought us Armegeddon; he's a natrual crowdpleaser and one hell of a moneymaker, at heart. You think he'd do anything but leave open the possibility of more cast and crew infighting and insanity?

Winner: Michael Bay.
Losers: Classless Tech Crew Who Can't Write A Letter Very Well, With Exception To The Egypt Anecdote.
Push: Megan Fox. Yes, probably an asshole, but an honest, funny one. Like, sometimes, you're in Egypt, you just don't want to see the fuckin' pyramids, you know? Someone get me a mango lassi while we wait for these robots to get gassed. I've got my wonderful freaky thumbs to look at.

The five newly revealed scenes from Aniston's new filmLove Happens show the famed actress standing erect during shooting, moving her lips and forcing muted sounds to emit from within her body. But other than these basic motions, Aniston shows few signs of actually being alive during the shooting of this film.

On close study of the clips, her emotional range can be seen tilting from "slightly bummed" to "kinda okay" — a range often studied in hibernating creatures in the wild. Slumbering bears, for instance, will often terrify hikers who stumble across them into believing they are actually awake when they raise one corner of their mouth and tilt their heads back and forth in a "yeah, kinda" motion.

Fears that she might actually be dead while making this film rather than merely asleep were put to rest when careful study of at the second clip revealed a moment of "pissed off" emotion — a feeling considered far beyond the capacity of most human corpses.

Patrick Goldstein of the LA Times offers three reasons why remakes are all the rage. First, despite some duds, many remakes do make scads of money, as exhibited by Star Trek. Second, the audience likes them. Finally, after years of rejecting the remake, directors are now keen on the idea.

There was once a time when filmmakers used their craft to elevate their ingenuity, vision and originality. Sadly, those traits are few and far between these days and, rather than stretch their own lazy imagination, filmmakers claim they're "reinventing" previous big screen forays. Bullshit.

While people like Rob Zombie may want to call themselves "auteurs," no self-respecting artist would take someone else's work, shoot it from a different angle — or, heaven forbid, in 3D — and display it as an example of their bottomless creative well. But, like any business, Hollywood's ruled by a little thing called supply-and-demand and can't be held entirely accountable for this developing trend.

The public's only endorsing this sort of behavior: by going to remakes, we are tacitly telling Hollywood, "Hey, it's okay: we crave nothing new. We can't stretch our tiny minds to understand — or even demand — an entirely innovative film going experience." No, we're all telling upcoming filmmakers that we'll happily consume any well-trod, familiar story.

We can blame Hollywood all we like, but it's really the public who's encouraging laziness on the part of our entertainers. It's we who are helping erode the foundations of America's collective imagination, thus giving rise to remakes like Fame, The Taking of Pelham 1,2,3 and, why?!, Footloose. This isn't nostalgia. This is a sad indictment of our insatiable love for all things safe, secure and ultimately conventional. And it's for that reason that we don't deserve entertainment at all. Not until we can prove we need more than flashing lights and shiny objects to get us off.

[Add your own entries in the comments! I'm an ignorant agnostic.]


1. The Beastie Boys' Sabotage video


2/ John Goodman in The Big Lebowski


3. Exodus, Leon Uris


4. Uprising, the movie


5. Munich, the movie


6. Those Inglourious Basterds


7. Adam Sandler as Zohan


8. And then: "A terrorist could put a yarmulke on, say, 'Happy holidays,' and blow the place up." Not if these guys have anything to say about it. Anything involving somersaults, that is.

For decades, young MBA's have stepped off the Greyhound with little more than an attaché case and a dream — a dream of making their fortunes by turning a moribund 1960's comic book character into a gazillion-dollar international film franchise. Today that dream just fell out of reach for many young dreamers.

The news that Disney has shelled out $4 billion to buy Marvel comics means, for all purposes, the ownership of America's beloved cartoon characters is now in the hands of two companies — Disney and Warner Bros.

Of all the issues facing Washington now, superhero rights no doubt fall low on the list, but what will it take for the government to step in with anti-trush legislation and let these animated citizens enjoy the full pleasures of the free market?

Facing off each other across from opposite ends of Burbank now, America's cartoon titans stand amassed in two armies like The Legion of Doom and The Teen Titans.

Serving now on Disney's payroll:

The classic Disney characters; Mickey, Minnie and the Country Bears

The Pixar Universe - from Buzz Lightyear to Up's formidable Carl Fredricksen

The Muppets

And now Marvel's Spiderman, the Moon Knight, Kingpin, Captain America and the Human Torch.

Here's what's in the Warners camp:

The DC Universe from Batman right on down to Mr. Mxyzptlk

The hangdog but never to be counted out Hanna-Barbera world — including Scooby Doo, a Tom and Jerry film in production, and the perpetually unquenchable demand for updated versions of the Jetsons and Flintstones, not to mention a little outlet known as the Smurfs.

And how could we forget Bugs Bunny and the Warner Brothers cartoon empire

Which leaves very very little for the other studios to pick over.

In fact, if one looks at Empire Magazine's list of the Greatest Comic Characters of All Time, Art Seigelman's holocaust allegory Maus stands as the lone member of the Top 20 not now in the Disney or Warners camps. Of the complete Top 50, the ten remaining free agents are a fairly motley collection of satirical characters (The Tick), untranslatable imports (Astro Boy) and edgy "alternative" characters (Harvey Pekar). When Steven Spielberg's work-in-progress Tin Tin finallys hits the screens, it may be a brave last stand for independent comic book characters, free from the iron chains of the Disney/Warners duopoly.

But ultimately, the greatest losers on this historic day are certainly the other studios whose coming summer slates are heavily dependent on help from their Marvel friends. Sony's Spiderman franchise, Paramount's Iron Man films and Fox plans for a thousand year reign of Avengers origins and team up films are now dependent to some degree on the good will of their friends at Disney.

And all that assumes the winds don't pick up and the fires raging in the hills don't consume us all in flames sometime before tea time today.

• Reality show siren Heidi Montag thinks she's ready for children. Thankfully, her husband, the weaselly Spencer Pratt, has enough common sense to hold off on reproduction. [NYDN]
  
  
• Superman: Man of Steel producer Jon Peters has been ordered to stay 100 yards away from colleague Brian Quintana after Peters allegedly threatened to break his legs during a hearing for Quintana's ongoing sexual harassment suit against Peters. And you thought your office had drama. [Page Six]
  
  
• Bethenny Frankel does not approve of her Real Housewives of New York co-star Jill Zarin's new friends: Why would Jill be hanging with Jon Gosselin and Michael Lohan?.... It is utterly embarrassing." [Gatecrasher]
  
  
• Did that 2008 plane crash play a role in DJ AM's untimely death? Addiction expert and reality star Dr. Drew Pinsky thinks the pain killers Mr. AM took after the crash led to his relapse and, ultimately, his overdose. [ET]
  
  
• Holy smokes! Victoria Beckham went to the gym without makeup! What is the world coming to? [Daily Mail]
  
  
• Libyan tyrant Moammar Khadafy will be coming to New York next month and, according to her, wanted to rent Joan Rivers' apartment for $200,000/week. Sadly, it didn't work out. [Page Six]
  
  
• Elizabeth Moss, arguably one of the best actresses around, doesn't have a "grand strategy" when picking her roles, which explains her turn in the Sarah Jessica Parker romantic comedy Did You Hear About The Morgans? [THR]
  
  
• Dancing With The Stars "star" Melissa Rycroft accidentally squirted Orlando Bloom girlfriend Miranda Kerr in the face with a perfume spritzer. We won't even go there.... [Page Six]
  
  
• Oasis brothers Liam and Noel Gallagher got into a huge tiff during a Friday concert and, apparently, the band's now broken up, because Noel thinks Liam's a "fucking moron." Fair enough. [The Sun]
  
  
• Fashion designer Tara Subkoff has bounced back after having a benign tumor removed from her brain. That's good news. [Page Six]
  
  
• Martha's Vineyard can't stop talking about Chelsea Clinton's wedding. Though the former first daughter's parents haven't said anything, everyone's convinced the nuptials could happen at any second. [Page Six]
  
  
• Madonna and boyfriend Jesus visited the Western Wall while in Israel. Hilarity ensued. (Well, not really.) [AP]

There are writers/journalists who've lead lives of reckless abandon and then written about it. Think of Marquis de Sade or even Hunter Thompson (writers whose works I have not read, but whose reputations precede them).

And they, uh, what? Go Gators.

There is really no news.

It was bad. It was really bad. It was not bad in the good way. It was not bad ironically. It was not bad in the "Let's go see it because we like to watch bad movies like Knowing, and laugh at them" way. I do not want to say the wrong thing here, that might convince anyone that this movie is worth paying to see, even for train wreck purposes.

This is the movie that happens when a narcissist—not an interesting one, though—writes an entire movie about how cool he is, and is given full creative control over that movie. Imagine someone you know who is an asshole. Now imagine that person being able to write and produce a movie about themselves, and how awesome they are. There you have it.

The plot of this film: Tucker Max and two of his bros go to a bachelor party, meeting various cum sluts along the way. Whore bitches can't get enough of Tucker Max's bad boy personality, which is probably why so many of these twats want him inside of their vaginas. Tucker fucks a midget stripper and the world loves him for it, the end. Other highlights:

• Close-ups of poop, coming out of someone's butt, a lot.
• There's a wedding scene in the end where the guests are all white and the servers are all black. There's not a joke to go with that.
• The best character in the film is Tucker's friend Drew, because he looks like he was just dropped in from another movie, and can't wait to get back. Drew is a misanthropic video game nerd who goes to strip club and meets a hot stripper who is also a video game nerd and falls for him and they rush home and sleep together and Drew instantly bonds with her son and they become a couple immediately. This is as close to a plausible male-female interaction sequence as this movie gets.

This movie is not, in fact, hilarious.
[Pic: Flickr]

Tucker gives Bitter Lawyer an exclusive sneak peek of his own opinion of his own movie about him:

BL: Do you feel like the hilarity of your written work translated well into a movie?
TM: Fuck yes. The movie is absolutely drop-dead hilarious. Wait until you see it, you will laugh your ass off.

There you fucking have it. Tucker also notes that he cast the actor that plays him based on his "likability and redeemability," for unexplained reasons.

An actual non-Tucker review of Alcohol and Fruit of the Looms Go Together Like Grilled Cheese and Mail Order Brides, TK.

[Previously: The script of this shitty movie, Parts One and Two. Pic: Flickr]

Like it is barely even about how Barack Obama was secretly born in Kenya and raised in Indonesia and is the son of Malcolm X! Most of the movie is just clips of cable news people talking about the election and Obama's first few months in office. But the highlight is surely this all-time classic of unintended consequences:

At the height of its sloppiness, the producers use, in its entirety, a video that Media Matters put together to mock Fox News coverage of the president's first 100 days. You can spot the rip-off because the blue bars and white text that Media Matters mark the 100 days with are still on the screen. Where the liberal group meant to mock the hyperbolic rhetoric of Glenn Beck, Sean Hannity, and the rest of the network's line-up, WND treats this like pages from the Gospels.

Hah. Nice one, Media Matters. Way to expose and contribute to the crazy. It is nice to be reminded that what is self-evidently batshit nonsense to "us" is just speaking truth to power to "them."

The movie cost $65 million, with another $35 mil for marketing. The Weinsteins were god damned determined to market the hell out of this! And that's great and all. But the WSJ explains the problem:

The company co-owns the $65 million film with Universal Pictures, so it will only reap half the profits — a symptom of the studio's financial troubles and the reason that even a hit like "Inglourious Basterds" may not be enough to save them.

Oh Harvey. Next time keep all of the Tarantino flick and sell off half of Miss Potter.

According to Nielsen BookScan, Child's classic recipe book, published nearly five decades ago, is selling around 22,000 copies a week and it will take the number one slot on the New York Times how-to best-seller list. But, alas, the recipes aren't necessarily making the transition.

As anyone who's familiar with Child's cooking knows, the Brit California girl loved butter and other naughty, yet delicious, ingredients. Now that people know the damage fat can cause their bodies - not to mention its apparent appetite for brains - many are altering the recipes with healthy alternatives. As one dilettante who eschewed pork fat remarked, "Julia Child rolled over in her grave when I opened the cream of mushroom soup, I'm pretty sure of that. But you know what? That's our world." And what a sad, tasteless world it is...

Child isn't the only person benefiting from the Nora Ephron-penned script. The film's based on Julie Powell's book of the same title, which has been reprinted 13 times this year.

And that, friends, is what we refer to as "movie magic." It's the secret ingredient to a successful book. Please do take note.

It looks to us like the most simplistic left-wing cant that Moore could muster to explain the bailouts: The banks bought Congress, and Congress gave the banks billions of dollars, and some nice gun-toting people in the midwest got laid off.

We've been excited to see the movie, which opens on October 2, but there's something about it that looks depressing: A Michael Moore movie tends to put a cap on whatever outrage he's addressing. Roger & Me meant that by the time you're seeing this movie, Flint, Mich., is fucked. Bowling for Columbine: A bunch of kids are already dead because we already lost the battle on guns. Fahrenheit 9/11: A look back at how we got screwed into the Iraq war. Sicko is an exception in a way, but only because it came out too soon. His collection of health care nightmares showed how "death panels" already exist in America (they're called "insurance claims adjusters") wcame out during the Bush years and not when, you know, health care reform might be on the top of the political agenda.

Now with Capitalism: A Love Story, we can look back in anger at another horrible thing that has already been done to us, and listen to a real-American-looking type say, "There's gotta be some kind of rebellion between the people who have nothing and the people who've got it all." Good luck with that.

It probably has the benefit of being true. But when is Michael Moore going to drop the fat-guy-in-the-lobby routine? Or the fat-guy-yelling-at-a-corporate-office-through-a-bullhorn routine, for that matter?

Also: How do you finance films without banks? Just wondering.