DVD picks of the week: All hail Hal Holbrook and Helen Mirren

Looking at that headline, it's probably as much as anything a reflection that I myself am getting pretty friggin' old, but - by a pretty wide margin - the best two things on DVD this week are a movie starring an 84-year-old man and the complete run of a sublime TV series starring a 65-year-old woman (though on the younger side of the scale, I'm watching vol. 3 of the UK teen series "Skins" streaming on Netflix too, and that's a real treat.)

First up comes "That Evening Sun," a genuine Southern drama that has been around for quite a while. I first missed the chance to see it at the 2009 Atlanta Film Festival 365, but luckily managed to catch it in its rather meager theatrical run (it apparently has made a paltry $281,000 or so at the box office) last spring. The flick also played the Macon Film Festival this year, and is extremely worth catching now on DVD.

The few who have seen this already will know it's a rare starring turn by Hal Holbrook, the kind of treasure that should be savored while it lasts. Holbrook is probably my favorite performer, if I were forced to pick only one, and here he plays Abner Meecham, an aging Tennesseean who bolts the nursing home to try and reclaim the family homestead that his son has sold out from underneath him.

It's really a role Holbrook was made to play, full of anger, pride and, best of all, a dark humor. Returning to the farm, he finds it now inhabited by two of my other favorite Southern actors, Ray McKinnon and Maconite Carrie Preston (aka Arlene on "True Blood"), along with their daughter, played by ingenue Mia Wasikowska.

What ensues is a war of wills that can at times be hard to watch because, as each holds his ground, they each become less and less likable, but that gives the drama based on a short story by William Gay and directed by Scott Teems a natural feel.

Music by Patterson Hood of the Drive-By Truckers makes this all go down even sweeter, so if you wanna take a chance this weekend on a movie that so far hasn't even managed to make a blip on the radar screen, trust me and give "That Evening Sun" a try.

Today's second pick comes with a disclosure: Acorn Media was kind enough to send me the complete "Prime Suspect" to review on DVD, but that doesn't change at all just how great the UK police procedural starring Helen Mirren was and still is.

Though the stories contained in the seven, three-hour-or-so installments are as gritty - and often more so - than anything you'll find on the best of American police procedurals, it's the performance of Helen Mirren at its core that make these so entertaining.

The humanly flawed cop has been played out way past the point of cliche many times, and very well by Dennis Franz on "NYPD Blue" and Dominic West on "The Wire," but Mirren plays it so naturally that it trumps the pattern completely.

Watching how her life's foibles (among other things, her Jane Tennyson battles the bottle as much as she does her inability to have anything approaching a full personal life outside of the police beat) intertwine with the often frustrating and sickening cases she pursues make this the most well-rounded police series I've encountered on TV. It's indeed on a level with David Simon's "The Wire," and anyone who's been here before knows that from me that's the highest form of praise.

These have been available individually on DVD for years now, but I believe Acorn's collection is the first time they've all been collected in one set. They would make a fine gift for anyone who enjoys great TV, or if you're so inclined, perhaps for yourself.

And with that, I have to go now to the job that pays me in something besides promotional DVDS. Peace out.

Atlanta Film Festival report No. 4: "The Secret to a Happy Ending" with the Drive-By Truckers

One of the many good things you can say about director Barr Weissman's documentary about the Drive-By Truckers, "The Secret to a Happy Ending," is that in order to get a lot out of it, you really have to be a fan of the band, which he clearly is.

That's because what he's made here, while it is indeed an engaging portrait of the Southern rockers who have been at it now, rather amazingly, for more than 20 years, is far from anything approaching a VH1-style conventional musical biopic.

Instead Weissman, who has made a living as a movie editor and has directed at least two self-released previous documentaries I'd love to be able to see, uses the band's songs themselves, which at their best really are stories, to tell the story on film.

It starts, appropriately enough, with Patterson Hood, who along with Weissman and drummer Brad Morgan were on hand for Friday night's Georgia premiere to close out the Atlanta Film Festival, playing "Bulldozers and Dirt" on the mandolin. This early DBT's track perfectly sets the stage for a look at the world from which the band sprang and still calls home, the American South.

And along with letting the band members tell their stories through word and song, Weissman introduces moviegoers to some of the most colorful characters who populate their musical world, including a visit with the ancient George A. Johnson, immortalized in the Patterson Hood song "Sands of Iwo Jima." Hearing Hood talk about his great-uncle's life as you see Johnson hold Hood's sleeping baby girl is a moment almost too tender to take. There's also an extended look at the life of Gregory Dean Smalley, the Atlanta musician who died way too early and was "The Living Bubba," and a visit with Wes Freed, who has created the artwork for every DBT's album since "Southern Rock Opera."

But the main stars, of course, are the band members themselves, and Weissman clearly had warts-and-all access during the five years or so he spent with them on the road, and the movie perhaps paradoxically gets better and better as the band starts to almost unravel. "A Blessing and a Curse," which I happen to be listening to right now, has grown into my favorite DBT's record, with "Decoration Day" a close second. It's easily the band's most intimate album, so it's often hard to watch the pain (including the end of the marriage of band member Shonna Tucker and former member Jason Isbell) that went into making it.

It led, of course, to Isbell eventually quitting the band, but though I won't reveal exactly how, it also came close to bringing about the demise of the whole group too. But this is, in the end, a movie made by an albeitly very talented fan of the band, but in the end a fan just the same, so he packs the movie with little moments that will make you smile even in this "World of Hurt." My favorite of all would have to be Mike Cooley's solo performance of "Space City" and the heartbreaking story behind it.

In the end, like I said, this isn't a movie likely to win many converts, but for fans, it's a complete and completely engaging portrait of a band that will hopefully just keep on rocking for at least another 10 years or so. It's currently making the festival circuit, so keep an eye out for it, and will eventually of course be available at Netflix, Amazon, etc., and I'll certainly let you know about that when it comes.

For the closing night of the Atlanta Film Festival, Hood, Weissman and Morgan took questions from the audience, and that's when Hood revealed just why it took so long for the movie to be completed. Weissman was ready to wrap things in 2005, after the completion of "A Blessing and A Curse," but as Hood pointed out, at that point the title "The Secret to a Happy Ending" would just have been an entire misnomer. At Hood's request, he ended up sticking around for another two years or so, when things ended on a much better note (and if you haven't bought the DBT's latest, "The Big To-Do," do so immediately ... it's their best in the last five years or so.)

After the Q&A, Reel Fanatic fave Ray McKinnon took the stage, and the band unveiled the "video" for "This F*****g Job," which is really a short film starring McKinnon and directed by "That Evening Sun" director Scott Teems. Finish that off with a short performance by Hood, Morgan and new Drive-By Trucker Jay Gonzalez, and you certainly have the makings of a perfect evening out. And that's exactly what I am now. Peace out.

Cannes lineup a sign of great things to come

Though I'm not headed to the Cannes Film Festival and probably never will, I am off to the Atlanta Film Festival 365 for the second year in a row beginning Friday (for me, though the opening night movie, "Freedom Riders," is tonight), and you can count me as thoroughly geeked up for it.

Unlike the star-studded froggy festival, Atlanta's gathering is a much more homespun and genuinely Southern affair, heavy on documentaries, this year with an accent on comedians and musicians. Two highlights are sure to be James Franco's "Saturday Night," which goes behind the scenes of "Saturday Night Live" (which I admittedly haven't actually watched live in at least five years), and the closing night movie, "The Secret to a Happy Ending," a doco about the Drive-By Truckers which will be followed by an "intimate" concert by the band. Yeah, that's gonna rock, and I'll be there.

If you're anywhere near Atlanta, I can't recommend an event higher than this one. The opening night movie is being shown tonight at The Carter Center and the grand finale is at the 14th Street Playhouse next Friday, April 23, but in between all the action takes place at the Landmark Midtown Cinema. To see the schedule and purchase tickets, click here.

But for the rest of the world, I suppose the biggest news out there today is that the Cannes Film Festival, returning in mid-May (without me), has unveiled its nearly full lineup, so far featuring 16 films in competition, three screening out of competition, 18 films in the Un Certain Regard slate and two midnight movies. Add to that the opening night flick, Ridley Scott's "Robin Hood" (3-D comes to Cannes - sheesh) and a special screening of "Abel," directed by "Y Tu Mama Tambien" star Diego Luna, and you've got just about everything.

And I say just about because up to seven movies could still be added to the lineup, and at least two marquee titles are as yet missing. I had really been hoping for the return of director Bruce Robinson with "The Rum Diary," based on the novel by Hunter S. Thompson and starring Johnny Depp, Aaron Eckhart, Amber Heard and Reel Fanatic fave Richard Jenkins. If you haven't seen Robinson's sublime "Withnail and I" from way back in the day, I implore you once again, please do so. He is truly a lost master.

Another movie expected to be announced but absent was Terrence Malick's "Tree of Life," set to star Brad Pitt. Malick, of course, wasn't snubbed - his movie, not shockingly at all, simply isn't finished yet. There's still hope that it will be by the time the festival rolls around.

The full list is at the bottom of the post, and it contains plenty of movies by directors that better-educated movie buffs may be more familiar with than me, so if you recognize any you like please let me know. Today, I'll simply stick to what I'm looking forward to most, which would have to start with the return of "Babel" director Alejandro Gonzalez Inarritu with something called "Biutiful," screening in competition.

All I know about the movie so far is that it is about a policeman who is forced to confront a childhood friend who is now involved in drug dealing, and that Javier Bardem stars in this somehow, most likely as the cop, I'd imagine. Definitely sounds like one I want to see as soon as possible.

Screening out of competition will be movies from three big-name directors, Oliver Stone's "Wall Street 2: Money Never Sleeps," Woody Allen's "You Will Meet a Tall Dark Stranger" and Stephen Frears' "Tamara Drewe."

Fox must really think it has something good in the Stone sequel starring Michael Douglas, Shia LaBeouf and Carey Mulligan, because the studio pushed it from a release next week until September so that it could screen at Cannes. The Frears movie, however, is the one I'm really jazzed for. It's apparently based on a Guardian comic strip by Posy Simmonds which is a modern reworking of Thomas Hardy's "Far from the Madding Crowd." Nothing but fun there.

And back in competition, there's at least one movie that might actually make it out to my little corner of the world, Doug Liman's "Fair Game." Liman, you might remember, made his debut way back when with the sublimely silly "Swingers," but he's certainly on to much more serious material here with the story of outed CIA agent Valerie Plame, to be played by Naomi Watts.

But best of all in my book will be a new flick by Mike Leigh, "Another Year," which will be screening in competition. And yes, I say that knowing nothing at all about this except that it stars Jim Broadbent and Imelda Staunton. Leigh is just one of those directors whose work I take on faith, and if you want proof of why, look no further than his last movie, "Happy Go Lucky," which starred a radiant Sally Hawkins as the irrepressibly and thoroughly annoyingly cheerful title character. I love that flick.

OK, before we get to the full movie slate, as promised, anyone who makes it this far deserves a reward, so here goes. The folks over at EgoTV have come up with a series of Team Leno posters using the Team CoCo fonts, and they're all pretty damn funny. And I really have nothing at all against old people, just Jay Leno, who is dead to me. Enjoy this sample poster, stick around for the full Cannes lineup after that, and have a perfectly pleasant Thursday. Peace out.



Cannes 2010: IN COMPETITION
"Another Year," U.K., Mike Leigh
"Biutiful," Spain-Mexico, Alejandro Gonzalez Inarritu
"Burnt by the Sun 2," Germany-France-Russia, Nikita Mikhalkov
"Certified Copy," France-Italy-Iran, Abbas Kiarostami
"Fair Game," U.S., Doug Liman
"Hors-la-loi," France-Belgium-Algeria, Rachid Bouchareb
"The Housemaid," South Korea, Im Sang-soo
"La nostra vita," Italy-France, Daniele Luchetti
"La Princesse de Montpensier," France, Bertrand Tavernier
"Of Gods and Men," France, Xavier Beauvois
"Outrage," Japan, Takeshi Kitano
"Poetry," South Korea, Lee Chang-dong
"A Screaming Man," France-Belgium-Chad, Mahamat-Saleh Haroun
"Tournee," France, Mathieu Amalric
"Uncle Boonmee Who Can Recall His Past Lives," Spain-Thailand-Germany-U.K.-France, Apichatpong Weerasethakul
"You, My Joy," Ukraine-Germany, Sergey Loznitsa

Out Of Competition
"Tamara Drewe," U.K., Stephen Frears
"Wall Street: Money Never Sleeps," U.S., Oliver Stone
"You Will Meet a Tall Dark Stranger," U.K.-Spain, Woody Allen

Un Certain Regard
"Adrienn Pal," Hungary-Netherlands-France-Austria, Agnes Kocsis
"Aurora," Romania, Cristi Puiu
"Blue Valentine," U.S., Derek Cianfrance
"Chatroom," U.K., Hideo Nakata
"Chongqing Blues," China, Wang Xiaoshuai
"The City Below," Germany-France, Christoph Hochhausler
"Film Socialisme," Switzerland-France, Jean-Luc Godard
"Ha Ha Ha," South Korea, Hong Sang-soo
"Les Amours imaginaires," Canada, Xavier Dolan
"Life Above All," France, Oliver Schmitz
" Los labios," Argentina, Ivan Fund, Santiago Loza
"Octubre," Peru, Daniel Vega
"Qu'est-il arrive a Simon Werner?," France, Fabrice Gobert
"Rebecca H.," France, Lodge Kerrigan
"R U There," Taiwan, David Verbeek
"The Strange Case of Angelica," Portugal, Manoel de Oliveira
"Tuesday, After Christmas," Romania, Radu Muntean
"Udaan," India, Vikramaditya Motwane

Special Screening
Diego Luna - "Abel"

Midnight Screening
Gregg Araki: "Kaboom"
Gustavo Hernandez: "The Mute House"

Just about the best news animation fans could possibly hope for

Actually, before we get into any of that goodness today, there's some very dark news about the world of TV, which directly impacts the show I was most amped about for the entire coming year (which is, when you think about it, just about the least important thing about this.)

David Mills, who worked closely with David Simon and like Simon was a former newspaper reporter (Mills for the Washington Post and Simon for the Baltimore Sun), died Tuesday night of an aneurysm on the set of "Treme," the post-Katrina New Orleans series he was developing with Simon for HBO (set to debut two Sundays from now, assuming this news doesn't change that.)

Once he crossed over into TV, Mills, like Simon, had a big hand in creating some of the best TV shows of the last 20 years or so. And I'm very far from exaggerating here. He wrote episodes of "The Wire," "Homicide: Life on the Street, "ER" and "NYPD Blue," and also served as a producer for "ER" and "NYPD Blue." His greatest accomplishment, however, was probably serving as executive producer and co-writer along with Simon and Ed Burns for the simply stunning HBO miniseries "The Corner," easily the most depressing thing to come out of Baltimore besides the Orioles, but still very worth watching (and which netted him two Emmys.)

And saddest of all is that he played a key role in "Treme" at the time of his death, serving as executive producer and having already written two episodes. I'm still planning to re-up on HBO in time for the premiere of this and long enough to watch "True Blood" season 3, but this is just a sad day all around indeed. Rest in peace, Mr. Mills.

You can read a much better obituary for the man written by his fellow "Treme" creators here.

OK, enough sad stuff, because for fans of great animation, there's news out there that is nothing short of incredible. Stop-motion master Henry Selick made my favorite animated movie of 2009 in "Coraline" (followed closely by "Cloudy With a Chance of Meatballs.") Shortly after that, however, he was left immediately unemployed after the animation house he toiled for, Laika, closed up shop.

Now, however, that's all changed, and in the best possible way. Selick has just signed a long-term deal to create more stop-motion movies for Disney/Pixar. There's no word yet on exactly what he has in mind first, but I'm betting that anything that springs from his very active mind will be nothing short of amazing.

Remember that it was Selick not, as many people mistakenly think, Tim Burton, who directed "The Nightmare Before Christmas," and he also made the even better Roald Dahl adaptation "James and the Giant Peach" (if you missed that, as many people did, rent it immediately.) And beyond giving him work to do, this welcome move hopefully shows that, despite Pixar's current fixation with 3-D, it and Disney will keep being committed to making all kinds of animated movies.

And finally today, I just got around to examining the lineup for the 2010 edition of the Atlanta Film Festival 365 (for which I'm somehow a member of the press), and it looks great. The Atlanta fest is really homegrown, featuring a lot of regional fare and, this year, a focus on civil rights and music documentaries. I'm incredibly psyched that included in the latter category will be the closing night movie, "The Secret to a Happy Ending," a doco about my favorite rock band by far, the Drive-By Truckers (followed, apparently, by most of the band playing for a party that I WILL get in to.)

But the festival has narrative features too, of course, and I think the one I'm most looking forward to is "The Good Heart." It stars two of my favorite actors in Brian Cox and Paul Dano. Cox plays the owner of a New York dive bar who is slowly drinking and smoking himself to death until he meets Dano's character, a young homeless man who he takes under his wing. I don't know much more than that, but it's enough to get me rather amped for this. Here's the first clip I know of for the movie. Enjoy, and have a perfectly pleasant Thursday. Peace out.

A new Wizard of Oz? You've got to be f%$#ing kidding me! Plus, a new Drive-By Truckers album

I've been pretty much amazed by the reaction to Tim Burton's "Alice in Wonderland," with critics pretty much split right down the middle. Well, you can certainly count me in the pro category, something you can rarely say about Burton's remakes.

Unlike "Planet of the Apes," which was just a lifeless mess, and "Charlie and the Chocolate Factory," which he just made into a perverted pile of trash, I found "Alice in Wonderland" to be nothing but charming, largely because Burton restrained all his worst impulses. I was a little worried when Alice first managed to walk out into Wonderland (or, as he calls it, Underland) and there were those two little flying creatures battling, but he mostly managed to resist cluttering the world with too many oddities and just let the story tell itself.

What comes next, however, just might be way beyond the pale. This is just at the beginning of rumor stage, but when it's this bad, I feel duty bound to spread it around (as if I would really have any power to stop it.)

There really does seem to be no limits to what will be engulfed by the 3-D beast, so someday I should probably manage to stop being surprised by this lunacy, but I just assumed no one would have the hubris to think they could remake "The Wizard of Oz," right? Apparently not.

According to the Los Angeles Times, with Harry Potter set to end soon and considering the rather amazing opening weekend for "Alice," Warner Bros. is seriously eyeing jumpstarting one of two updated "Wizard of Oz" scripts knocking about to make it a 3-D spectacle. Remember, I'm just the messenger here.

One project, called "Oz," is being pushed by Temple Hill, the folks behind a little series called "Twilight," and has a script by Darren Lemke, a writer on the upcoming "Shrek Forever After." OK, bad, but maybe not awful. But wait ...

The second potential project, which seems to be paralyzing my fingers so I have trouble even writing it, skews a lot more twisted, with "A History of Violence" scribe Josh Olson penning a version that focuses on - yes, really - a granddaughter of Dorothy who returns to Oz to somehow fight evil. Not surprisingly. "Spawn" creator Todd MacFarlane, who has had a twisted Dorothy fetish for years now, would be involved in this in some kind of producing capacity.

Now, I can certainly understand the temptation here. A potential tentpole with the perfect heroine, and all that nifty 3-D to boot, but really? Where to start ...

My main beef with all of this - and believe me, I could go on for quite a while - is that the original "The Wizard of Oz," in an admittedly antiquated way, is plenty twisted itself already. It certainly doesn't need to be any darker or odder or anything else than it already is.

If anyone has a lot more power than me, please stop this as soon as possible. And from here on out today, it's all good news, I promise, including two simply sensational musical offerings at the end.

De Niro to play Vince Lombardi

If you're gonna do a grand sports biopic, you probably can't find a better match in my book than Robert De Niro and Vince Lombardi, the Green Bay Packers coach who led his team to five NFL titles. De Niro has signed on to play the role on the big screen for ESPN Films, with a script to come from Eric Roth, who wrote the screenplay for "The Curious Case of Benjamin Button."

Now, I've made clear my pretty intense dislike (not hate, note) of that David Fincher flick, but I seriously doubt Roth will be able to "Gump" this up the way he did Fincher's movie.

And as for ESPN Films, I've tuned in for their TV film series when the subject interests me. The Len Bias flick was pretty great until it veered off course at the end to proselytize about the legalization of drugs, and that little movie about the U. of Miami was nothing but fun. The flick about Jimmy the Greek was intriguing, but that ridiculous voice over that was supposed to represent the voice of the oddsmaker almost made it unwatchable.

What all the TV offerings have had in common, however, is that they're about as shallow as a half-filled kiddie pool, but I'd have to think Roth will get into a much more fleshed-out portrait of Lombardi here, and I'll certainly turn out to see it when this hits in that dead weekend before the Super Bowl in 2012 (great timing there.)

Two seriously funny ladies returning to TV

The only thing missing from the great news that Will Arnett was reteaming with "Arrested Development" co-creators Mitchell Hurwitz and Jim Vallely for a Fox sitcom to be called "Wilde Kingdom" was word of who would have the rather onerous task of being subjected to his obnoxious advances.

Well, it seems that Felicity herself, Keri Russell, is about to sign on to play the co-lead, which would be nothing but cool. In the show, Arnett would play a Beverly Hill jackass (natch) who falls in love with a charitable, tree-hugging woman (Russell) who can't stand his lifestyle or values.

Sounds like fun, and really, just the further adventures of Gob Bluth, and what could be wrong with that?

In other TV news at least tangentially related to "Arrested Development," Judy Greer has been tapped to star opposite David Krumholtz in another Fox comedy pilot, "Tax Man."

In the show, Greer is set to play a former Morgan Stanley secretary, nicknamed "the Terminator," who joins an IRS office in Fresno, Calif., staffed by enthusiastic eccentrics.

Greer is seriously funny in just about anything she does, and though Krumholtz has made a steady living for years now on "Numbers," which I've never seen, you may remember him from way back when as Neal Schweiber's big brother Barry on "Freaks and Geeks," so this is definitely one worth keeping an eye out for next fall.

New music video from She & Him

I know at least one semi-regular visitor to this site, Bob Connally, is jazzed about there being a second She & Him album out this week, and I am too.

For anyone who doesn't know, She & Him is a nifty little collaboration between Zooey Deschanel and plugged-in folkie M. Ward, and their first album, "Volume One," was just thoroughly charming, so I'm looking forward to more of the same with "Volume Two," which is due out March 23 (not yesterday, as I was hoping before an alert reader corrected me.) In the meantime, enjoy this first music video for the song "In the Sun," which with Deschanel and friends dancing their way through high school hallways is just a perfectly sweet diversion. Enjoy.



And, much better, next week will bring the release of a new Drive-By Truckers' album, "The Big To-Do." Even better than that is that it's currently streaming for free, and all you have to do to hear it is click on the player below. My first impressions? It's a solid rock record that falls somewhere between good and great. It could certainly use more Mike Cooley and less Shonna Tucker, but the Cooley song "Birthday Boy" and Patterson Hood tracks "Drag the Lake Charlie" and "The Wig He Made Her Wear" are first rate. Enjoy, and have a perfectly endurable Wednesday. Peace out.

Since the Oscars get 10 best, I do too (actually, I get 11)

Thinking about what to write about this morning, I realized that - with no computer for a month - I never got around to revealing my 10 best movies of 2009. And while it may be far too late for anyone but me to care, here goes anyway, in order only of when they were released (and if you're a fan of the Drive-By Truckers - as everyone should be - stick around 'til the end for a special treat.)

And lest anyone be left scratching their head at the omission of Jason Reitman's "Up in the Air," it just missed the cut, earning honorable mention along with the following flicks: "The Road," "A Single Man," "Crazy Heart," "Avatar," "Broken Embraces" and "Fantastic Mr. Fox." Now, on to the 11 winners, and please feel free to chime in with your favorites or let me know if you think I'm just all wet about any of these:

Coraline
"Up" is going to get most of the attention as far as animated movies go with this morning's Oscar nominations - since I fully expect it to get a Best Picture nomination - but this little flick from Henry Selick and Neil Gaiman was actually the best animated movie of the year for me (and the only one besides "Avatar" that really made me think it was worth wearing 3-D glasses for the entire movie.) Though, like any story told through the eyes of a child, it really goes out of control by the end, "Coraline" is still a genuinely magical story about the powers - and dangers - of the imagination, my favorite movie subject of all.

Sugar
This flick from directors Anna Boden and Ryan Fleck spent the first half of 2009 as my favorite movie of the year, and it's held strong in the top five. This portrait of life in modern America through the eyes of an outsider starts out as a low-key sports flick about a Dominican player in the minor league baseball system and pivots deftly about halfway in to become a story about immigration in America without ever losing the natural flow that makes it so entertaining to watch. Rent this immediately if you haven't seen it.

Drag Me to Hell
Has anyone had a worse movie year-or-so than Sam Raimi? First, no one in the world but me (and maybe a few others) went to see this incredibly fun return to his horror roots, and then his "Spider-Man 4" flick implodes to the point that they just scrapped the whole project and started over without him (and, frankly, most likely without me too.) He certainly deserves better. Especially when, if you're a fan of "Evil Dead" and "Army of Darkness," you should love this flick about what happens when poor Alison Lohman denies a mortgage extension to the wrong person (a gypsy woman with the power to curse her - and ingest her poor kitty - of course.) If you can stomach it, watch this on DVD.

Moon
I'd say there's probably no chance at all that Sam Rockwell will get an Oscar nomination for his work in Duncan Jones' sci-fi flick, and in my book that will count as the single biggest snub of the year. He's in virtually every frame of this, a welcome return to the kind of smart sci-fi allegory we haven't seen on the big screen in a long time (though "Battlestar Galactica" did a fine job with that too on the little one.) I saw this one at the Atlanta Film Festival 365, and am thrilled that Charles Judson has invited me back for this year's event too.

The Hurt Locker
Just how much do military members love this Iraq War movie of sorts from Kathyrn Bigelow? Well, as a tiny and random sample, a video store bought an ad in the publication I lay out that serves Warner Robins, GA (proud home of Robins Air Force Base) just to promise that "The Hurt Locker" will "always be in stock." I don't know why, but that just struck me as funny. I do know, however, that Bigelow has crafted the first Iraq War movie I genuinely enjoyed, not just because it has at least three of the best action set-pieces of the year, but also two of the best performances from Anthony Mackie and Jeremy Renner as it presents the rarest kind of flick - an apolitical war movie that simply looks at combat through the eyes of those who have to wage it.

In the Loop
A small Web cult of sorts has blossomed that's devoted to the singular swearing prowess of Peter Capaldi as political operative Malcolm Tucker in director Armardo Iannucci's wicked sendup of the buildup to the Iraq war, and it's well-deserved. It's hard to keep up with all the jokes that Iannucci packs into this razor-sharp satire - the kind we haven't seen since the days of Peter Sellers, and they've been sorely missed by at least me - but believe me, the effort is well worth it. Watch this now.

Inglourious Basterds
This is my favorite movie of 2009, and just to show I've put it to the test, I've watched it all the way through at least five times now, and it just keeps getting better. Taken individually, the opening gambit with Christoph Waltz and a French farmer, that sensational scene at the French bar that turns into a bloodbath and - of course - the unforgettable finale, are the three best-written sequences of 2009. Add them together and throw in Brad Pitt and his basterds for comedic value, and you get my favorite kind of movie, just wildly imaginative story telling and a thoroughly fun ride.

Passing Strange
Can what amounts to simply the filming of a Broadway musical being performed on stage really be turned into one of the best movies of 2009? In the hands of Spike Lee, yes. He uses the same technique he did with "Kings of Comedy" to make it an intimate experience, and it certainly doesn't hurt that this musical about a black teenager's voyage to Europe to find his artistic self has a genuine energy that radiates from the screen as I'm sure it did even stronger on stage.

The Damned United
I was a little hesitant to see this at first because it's based on the best book I've read in at least the last five years or so, and I was sure there was no way that director Tom Hooper could re-create the manic pace or odd structure of David Peace's piece of historical fiction about Brian Clough's disastrous 44 days or so as the manager of Leeds United. I'm very happy to report, though, that I was once again wrong, because it comes damned close, and more importantly turns this tale of ultimate futility into a winningly witty period piece that will entertain soccer fans as much as those of you who have somehow not become a fan of the beautiful game, and Michael Sheen is perfectly vainglorious as Clough.

Where the Wild Things Are
Probably my favorite joke from "Freaks and Geeks" remains the one about Sam Weir trying to do a book report on "the novelization of 'Star Wars'," but I can report that the novelization of "Where the Wild Things Are" by Dave Eggers (called "Wild Things" and of course at least loosely based on the children's classic by Maurice Sendak) is a tremendously good read. Like Spike Jonze's movie (but without having to create those rather amazing wild things), it deftly dives into the mind and imagination of a troubled child and somehow bundles all these emotions into a moving and simply entertaining tale. And young Max Records, perfectly wild as Max in the movie, delivers my single favorite still of the year, the look of horror on his face when his teacher casually announces that the sun will, indeed, some day die. Priceless.

Precious
It really seems a crime to put Lee Daniels' flick last on this list, but those were the rules I set out. In actual order of appreciation, it would certainly be in the top five, because although I didn't find it as uplifting as many people I know who like this as much as I do, it's still a genuine American story of the kind we very rarely get to see on the big screen. Mo'Nique is a sure winner in the Best Supporting Actress category at the Oscars, but I'm hoping Gabourey Sidibe gets a Best Actress nod too, because she portrays our heroine's wounded but still fierce pride perfectly, as much with her expressions as she does Precious' emerging voice.

So there you have it. And I promised a treat for any Drive-By Truckers fans who stuck around through all of that, so here it is. Yesterday, they debuted a new single, "Birthday Boy," and I'm pleased to report it's a Mike Cooley track that kicks the kind of ass they used to, and hopefully will again when a new album comes out in the next six weeks or so. Just put your e-mail address in the widget (it won't go to me, so don't worry), and the link will be sent to you. Enjoy, and have a perfectly pleasant Tuesday. Peace out.

An animated "Arrested Development" reunion?

Just in case you think you had a bad Monday, perhaps we should start with a bit of perspective: In executing its previously announced plans to nuke New Line Cinema, the kind folks at Warner Bros. fired 450 New Line staffers in one day Monday. What a way to start the week ...

But, in much lighter and better news, "Arrested Development" creator Mitchell Hurwitz is teaming up with some old friends for his upcoming Fox animated series, which has been picked up for this fall.

Though the cast doesn't - yet, at least - include the sublimely funny David Cross, it will feature two Bluth brothers - Michael and Gob - and bumbling attorney Barry Zuckerman. Jason Bateman, Will Arnett and Henry Winkler will join Cheri Oteri, Will Forte, Regina King, Nick Kroll, Tom Kenny and Maria Bamford in providing voices for "Sit Down, Shut Up."

And what is that? Well, as one fairly polite but anonymous reader has clarified for me, it's based on a live-action show from New Zealand - not Australia, as the trades still insist on saying. The story centers on staff members at a high school who are preoccupied with their own needs and agendas, which means the students come second.

Given Fox's track record and Hurwitz's luck, I give this no more than two seasons at best, but I'll definitely tune in for the whole run. And after that, we'll get that "Arrested Development" movie, right?

DVD pick of the week

Believe it or not, my pick is not "Juno," though I still have nothing but love for that flick. I've heard the complaints that it's all too smug and hip, but I've seen it twice already and it made me smile each time - and yes, I'll watch Ellen Page in just about anything - so that's all I really need to know.

But my pick instead is a real treasure trove from the Clash. Now, people can argue about who the "greatest rock band in the world" is, but the only thing I know for sure is it certainly isn't the Rolling Stones. Just to provoke a response, I often try and tell people it's the Drive-By Truckers, but if we really have to pin this silly label on anyone, I'll just say this: For the way-too-brief time that they reigned, the Clash were just easily the coolest band on the planet.

And, if you were to give me a time machine chance to go anywhere in the world, anytime, I have to say - as shallow as this might be - I'd definitely pick the day in 1982 when the Who and the Clash took on Shea Stadium. Since I've yet to find such technology for such silly use, I guess this week's DVD release, "The Clash Live: Revolution Rock," will have to do for now.

Here's a track listing for the flick, directed by longtime Clash collaborator Don Letts:

1. Complete Control
2. I Fought The Law (London Lyceum '79)
3. Police & Thieves (Munich '77)
4. What's My Name (Manchester Elizabethan Suite '77)
5. Capitol Radio One (Manchester Elizabethan Suite '77)
6. White Riot
7. I'm So Bored With The U.S.A (Manchester Apollo '78)
8. London's Burning (London Victoria Park '78)
9. 1977
10. (White Man) In Hammersmith Palais (Glasgow Apollo '78)
11. Tommy Gun
12. Safe European Home (London Music Machine '78)
13. London Calling (Bonds International Casino '81)
14. Clampdown (Lewisham Odeon '80)
15. The Guns Of Brixton (Fridays '80)
16. Train In Vain (Lewisham Odeon '80)
17. This Is Radio Clash (Tomorrow Show With Tom Snyder '81)
18. The Magnificent Seven (Tomorrow Show With Tom Snyder '81)
19. Brand New Cadillac (Tokyo Sun Plaza Hall '82)
20. Should I Stay Or Should I Go (Shea Stadium '82)
21. Know Your Rights (US Festival '83)
22. Career Opportunities (Shea Stadium '82)

Now that's a friggin set list!

"Iron Man" will kick serious ass

Based only on the few clips I've seen and, much more so, my simple desire for Jon Favreau to really kick summer off with a winner, I'm thoroughly convinced that the above sentence will be true. And, for those of you too old to tune in to Nickelodeon, here is a clip shown on the channel over the weekend which at least proves that Robert Downey Jr. will be very funny in it. Peace out.

All hail the Drive-By Truckers: A video tribute

As I too rapidly get older, I've found it's much easier to keep up with movies than it is music, though I love them both. I couldn't tell you what's hip on the radio now if you put a gun to my head, and I'm really not sure I would want to.

But one thing I've managed to stay sure of for the past five years or so is that the Drive-By Truckers just kick royal ass every single time they manage to release an album, as they did again this week with the seriously satisfying "Brighter than Creation's Dark."

When I first found them (or more correctly, my brother did and demanded that I catch up), they had put together a 2-CD "Southern Rock Opera" that sort of works as a tribute to Lynyrd Skynyrd (and really, why not?). Since then my favorite Truckers' album (and I'm sure many other people's too) has been "Decoration Day," and I've managed to see them live 5-10 times now, the best times being at their home at the fabulous 40 Watt Club, surrounded by adoring kids and standing in about an inch of standing liquid that I hope was mostly beer.

So, rather than talk about any of the craptastic movies opening wide this week (I love Diane Lane to death, but I'm not gonna watch yet another movie about a guy who tries to kill people on the Internet), here's a video tribute to what I seriously think you can call the greatest rock band in the world (Rolling Stones be damned, at this point.)



Keep your drawers on, girl, it ain't worth the fight
The Cooley track "Zip City" is easily my favorite Drive-By Truckers song, and, in spite of its rather negative portrayal of the plight of teen girls in the South, I've been surprised by just how many women really like it too.



"Bon Scott singing Let There Be Rock"
If you ever have the pleasure of seeing "Let There Be Rock" performed live, be careful not to look too closely at the people all around you, because I can assure that that many white kids in one place, almost all giving the hook' em horns sign and bobbing their heads in unison, can indeed be more than a little frightening. That said, this would have to be the Truckers' signature song, and I still love it every time I hear it.



"Some people stop living long before they die"
The audio's a little shoddy on this performance of "The Living Bubba," which purports to be from Jason Isbell's last show with the band before he chose the wrong solo path and is now fading into oblivion. A tribute to Gregory Dean Smalley, an Atlanta musician who died of AIDS, it's a sweet song that just happens to rock balls too.



"American boys hate to lose"
The Truckers' new CD, "Brighter than Creation's Dark," has several good songs about the Iraq war, including Patterson Hood's searing "The Man I Shot," but their greatest war song, and frankly one of the best I've ever heard, is "Dress Blues." This clip has been viewed more than 34,000 times at Youtube, so hopefully Jason Isbell's song about a fallen friend has touched more than a few people.

And there you have it. Hopefully everyone's Friday goes just a little bit better with a solid dose of rock. Peace out.

What will become of Heath's other movie?

You won't hear anything from me, even when any definite word comes down, about what exactly killed Heath Ledger because, frankly, it's just really none of my damn business.

But what is my business (as much as volunteer work can be labeled such) is talking about movies, and Mr. Ledger left behind two potentially great ones in the works, and a third that was yet to really begin.

First and foremost, of course, is "The Dark Knight." Warner Bros. had been putting together the next phase of a marketing campaign that would have focused on Mr. Ledger's work as The Joker (and if you've seen that trailer, I'm sure you know why; it's pretty friggin' amazing.) I can only assume this approach will be either scrapped or at least modified, but we'll have to wait and see.

Of more interest to me is "The Imaginarium of Dr. Parnassus," which could either turn into another epic failure for snakebit director Terry Gilliam or maybe be salvaged to make a pretty compelling flick.

As many might know, this isn't the first time that Gilliam has run into trouble on a fairly big-budget flick ("Parnassus" had (has?) a surprisingly large $30 million behind it.) Gilliam's quixotic attempts to film "The Man Who Killed Don Quixote" with stars Johnny Depp and the great Jean Rochefort (who, I found through a quick IMDB check, is indeed alive and still working at age 77) never got too far off the ground, but it did result in a fairly amusing Keith Fulton and Luis Pepe documentary about the process titled "Lost in La Mancha" (definitely recommended if you haven't seen it.)

And now, at least according to an anonymous source in Us magazine (via Comingsoon.net), the worst may happen to Gilliam yet again.

"I just got the call [Tuesday] saying everyone was being let go," the on-set source said. "We were supposed to start this weekend, but obviously they fired everyone today. They don't know yet what they are doing with the footage that was already shot," the source added.

Who knows if that's true, but I'd have to imagine at least 90 percent of the people who put up that $30 million did so for a movie starring Heath Ledger, who was the film's only extremely bankable star.

The pic wrapped the London leg of its shoot last Saturday. The production team has moved to Vancouver, Canada, where blue-screen work was due to start next week and continue until early March.

So, what in the world would this flick be about? Well, it certainly sounds like pure, perfect Gilliam, so here's hoping they're somehow able to salvage this project.

Here's what I know of the plot: 1,000-year-old Doctor Parnassus (Christoper Plummer) leads a traveling theater troupe and offers audience members a chance to go beyond reality through a magical mirror in his possession, a talent he has acquired through a deal with the devil (Tom Waits, natch.) Beelzebub, as is his wont, eventually comes to collect on his debt, targeting the doctor's daughter (model Lily Cole). The troupe, who is joined by a mysterious outsider (Ledger), embarks through parallel worlds to rescue the girl.

I'm not sure you could make this sad story any worse, but along with starring in the Gilliam flick, Mr. Ledger was apparently, as every actor seems destined to do, also about to start working on directing his first feature film, "The Queen's Gambit," based on a novel by Walter Tevis. Oscar nominee Ellen Page had been offered the lead role of a young female chess prodigy, but any work on this has obviously ground to a halt.

And, except for any further talk about "The Dark Knight" or the possible salvaging of "The Imaginarium of Dr. Parnassus," this is hopefully the last you'll ever from me about the late Mr. Ledger. It's just not a subject I enjoy writing about, so I'm gonna move on now to much better news ...


There's a new Drive-By Truckers' album!

The world's greatest rock band, Athens, Georgia's own Drive-By Truckers, has this week released a rather epic, 19 track album called "Brighter than Creation's Dark," and though it's clearly going to take me a lot more than the two listens I've given it so far to digest it all, I can thankfully report that it's pretty damn good.

Though with that many songs it's of course all over the map, the songs this time, still primarily from Patterson Hood and the Stroke Ace Mike Cooley, are a lot more intimate than most of what appeared on "Dirty South." Bassist Shonna Tucker even steps up to pen three tracks and sing the lead on a fourth.

If you use Itunes, which I just recently started doing so I'll never in my life have to give another damn dollar to Best Buy for CDs, you can download the whole mess for like $11.

My favorite track so far is Cooley's "Self-Destructive Zones," with Hood's closer "Monument Valley" a close second. As best as I can tell, "Zones" might be an autobiographical tale about the duo's attempts to start a band in the era of grunge, and it features nuggets like this: "Caught between a generation dying from its habits, and another thinking rock and roll was new." Definitely check this one out for yourself.

The trailer for Tyler Perry's "Meet the Browns"

In what's surely much more than a coincidence, there are two black family reunion movies coming out at just about the same time fairly soon.

Martin Lawrence will surely be hamming it up as a successful talk show host who leaves Los Angeles to reunite with his family in the Deep South in Malcolm Lee's "Welcome Home Roscoe Jenkins." Lawrence, a very funny guy, is sorely due for a solidly funny and entertaining movie, so I'm hoping against hope that this is it.

A much better bet, however, is the rather similarly plotted offering from Tyler Perry, "Meet the Browns," set to come out in March. In it, Angela Bassett (a hearty, hearty huzzah!) plays the single mother of two who returns to Georgia from Chicago when she gets a letter informing her that the father she never knew has died. In the ensemble you'll also get Perry stage regulars David and Tamela Mann, and even former L.A. Laker Rick Fox. This being a Tyler Perry movie (which is always fine by me), expect a lot of laughing, crying and, of course, drama. Enjoy the trailer, and have a perfectly bearable Thursday. Peace out.

The Korean Godzilla attacks Macon!

Though I certainly respect and, when I can, support the Macon Film Guild's efforts to bring truly obscure movies to Macon, I never thought they'd get around to anything this much fun.

This Sunday at the Douglass Theatre they're showing "Gwoemul," better known in the U.S.A. as "The Host," and even more informally known as "The Korean Godzilla." Well, having seen this flick, I can tell you that while it's not quite as fun as the Godzilla flicks, it's pretty darn close, and well worth checking out on the Douglass screen.

The plot revolves around a fairly old dude who owns a snack bar on the banks of the Han River in Seoul. Everything seems to be going fairly well for he and his ragtag family until, very early on of course, a giant creature emerges from the depths of the river and abducts his daughter. From there on out it plays out predictably enough, but with lots of humor and just enough fright for me. I can't recommend this one highly enough.

The Douglass screenings are this Sunday at 2, 4:30 and 7:30 p.m., as always introduced by Camp Bacon and with a discussion following the 4:30 showing. I'll be at the early show, and I hope many Maconites will join me there.

Besides, what else is there to watch this weekend?

Rush Hour 3: No way in hell. Am I the only one who's wondering if Roman Polanski made some kind of karmic deal by which he's paying for all his past sins by agreeing to be pummeled by Jackie Chan and Chris Tucker in the latest installment of threequel summer?

Daddy Day Camp: Good Lord. In the trailer alone, the poor white dude who has to be Cuba Gooding Jr.'s sidekick gets covered in feces at least three different ways. It would be hard to call me an elitist, but I just can't see any possibly way I could watch that.

Stardust: Though I'm only mildly excited at best, I might give this a chance. It looks like a paint-by-numbers fantasy though, so I might wait for DVD.

Skinwalkers: I have no idea what this is, but judging from the title, I'd have to guess it's fairly generic horror aimed at folks more than slightly younger than me. If I'm somehow wrong about this, please let me know.

Rescue Dawn: Absolutely. Even if its Werner Herzog remaking one of his own documentaries ("Little Dieter Needs to Fly"), it's still a Herzog flick, and most likely a damn fine one at that. Christian Bale plays Dieter Dengler, a fighter pilot who gets shot down over Laos on his first flight mission in the Vietnam War and captured. From there on out, it apparently plays out as if "Rambo" were directed by Terrence Malick, so I'm definitely in. This one is only showing at the Regal Rivergate 14 in Macon, so please go see it there!

"Be Kind Rewind" preview

This does look awfully silly for the great Michel Gondry, but it should still be tons of fun.

For anyone who doesn't know, the flick, finally set to come out in January (I think), stars Jack Black and Mos Def (huzzah!) as employees of a video store (not DVD, of course) where all the tapes get erased due to their location next to a power plant. Our heroes, of course, set out to re-create all the erased movies and, according to the rather rough Comic-Con footage here, become quite the hit.

My favorite bits have to be Mos' declaration of "You're magnetized!" and Black's explanation of why they have no need to heed the FBI warning at the beginning of each tape, but even in these scant two-and-a-half minutes or so there are plenty of other things to like.



New Jason Isbell album

I picked up the solo debut from this former Drive-By Trucker last night, and while i'm still digesting it, there's a lot of strong stuff on "Sirens of the Ditch."

DBT fans be warned - this album never really rocks like the Truckers do, even though all of them except Mike Cooley (what the hell's up with that?) made significant contributions to this record. It's really a pop album with Isbell's still-developing songwriting touches, and really starts to pick up in the middle with the war gem "Dress Blues" through the bluesy "Hurricanes and Hand Grenades."

It was a dark day indeed when Mr. Isbell quit the Truckers, but they seem to have recovered fairly quickly, adding pedal-steel man John Neff (who I had the pleasure of meeting way back when he ran with Red River Dave and the Star Room Boys) as a permanent member and even recruiting Southern legend Spooner Oldham for their current tour (which, unfortunately, won't be coming to Macon.) We will, however, be getting a solo shot from Mr. Isbell at the Hummingbird Stage and Taproom Sept. 2, so definitely check that out.

And here is a great clip of Jason and the Truckers performing "Dress Blues" live at Stubbs in Texas. It's one of the best war songs I've heard in many, many years, so enjoy, and have an entirely suck-free Wednesday. Peace out.