Over at USA Today, they've got a first look at Robert Downey Jr. and Jamie Foxx in The Soloist, due out November 21st. Based on a true story, Downey Jr. plays Los Angeles Times columnist Steve Lopez, who discovers a schizophrenic music prodigy (Foxx) living on Skid Row. On this role versus playing a superhero in Iron Man, Downey Jr. notes, "I've loved every part of Iron Man. But the last thing you want is to be seen as that guy, who just does that role." Funnily enough, he says this as he's about to play another real-life reporter not long after he took on the role of Paul Avery in Zodiac. Next up for Downey Jr.? Well, Superman, of course -- this way he can play superhero and reporter! The perfect mix! The Soloist also stars Stephen Root and Catherine Keener, and it was directed by Joe Wright (whose Atonement popped up on all sorts of awards lists last year).

Whaddya think? Can you see Jamie Foxx as a homeless, schizophrenic music prodigy?

Are films political? Do they fall into left-wing and right-wing camps? I would imagine that not all films have an agenda. Some films can be considered "great uniters," in that they bring together agreeing audiences from all over, films like the $200 million hits I Am Legend (264 screens) and National Treasure: Book of Secrets (177 screens) or a critical favorite like There Will Be Blood (339 screens) that has pleased nearly everyone who has seen it. Of course, There Will Be Blood is about a snaky, sinister, blustery oil baron willing to sacrifice his family, country and humanity for the allure of black gold, which may or may not have a little something to do with current events. (Not to mention that director Paul Thomas Anderson dropped the word "Oil" from the title of the source novel and replaced it with the word "Blood.")

In recent years it has been determined that film critics are a liberal bunch, educated, well-read men and women of letters, who can see and comprehend the human condition in films from different cultures all over the world. Or, they're sometimes known as pompous, ponderous, pretentious, conceited, snooty know-it-alls, lacking in good old-fashioned horse sense. "Why can't you just enjoy the movie," is a question very often asked of critics. Rambo (201 screens) is a fascinating case. It's impressively violent, but very grim and not much fun. Rambo debuted and reigned during the Reagan era (Rambo: First Blood Part II grossed three times the amount of the new film, even with 1985 ticket prices). Bringing him back in a decidedly different political atmosphere didn't seem to work, though the film was screened for the press and earned a few good reviews. It's now starting a downslide, and it's still shy of breaking even on its $50 million budget.

Welcome back to another installment of Insert Caption -- recently hailed as the number one most addictive online game by the staff at Cinematical and Moviefone. Last week, we asked you to cuddle up next to James McAvoy and Keira Knightley (which one do you think hogs the bed?) and give us your best captions for a photo from Atonement. There was a DVD and two pretty awesome beach cruisers at stake for one lucky winner. Congrats to Shane M. for blaming the whole thing on a little girl with a big mouth (I guess it's better than blaming it on a little guy with big muscles).

1. "I think we should blame it on Briony. What could she possibly do to get back at us?" -- Shane M.

See full image and all captions

And speaking of little guys and big muscles, this week we're taking a look at a photo from the very funny Run, Fat Boy, Run (which hits theaters on March 28), starring the always-reliable Simon Pegg as a guy who takes on some serious training in order to win back the girl he let get away. And if that doesn't look exactly like me when I'm at the gym -- wow, it's like staring into a wimpy mirror. Maybe I should shut up now. Anyway, winners of our three favorite captions will run, not walk, away with one Run, Fat Boy, Run poster, one sports bottle, one sweat band, one pair of running shorts and one Nike jacket. C'mon, it's officially Spring -- time to climb out of that cave and get into shape! Sound off below fitness freaks.

Read the official rules for this contest

Despite all the awards attention it received, Joe Wright's Atonement still sounds too much like a lushly romantic period melodrama for my personal taste. Still, it's one of those movies you probably need to experience yourself before deciding if the praise was too lavish (Ryan Stewart thought it was a "stunning achievement") or the criticism too harsh. The DVD from Universal Studios includes deleted scenes, two "making of" features, and an audio commentary by the director.

From all that I've read, Southland Tales sounds like an astonishing train wreck. Nick Schager began his review for Cinematical by writing: "Let me present Exhibit A in the case against granting talented young filmmakers extensive creative autonomy." Given my perverse nature, that makes me want to see Richard Kelly's futuristic epic even more. The DVD from Sony Pictures includes a "featurette" and an animated short.

Steep presents thrilling footage of big mountain skiers who swoosh down incredibly steep slopes. As I noted in my review, though, I felt it raised more questions than it wanted to answer. The DVD from Sony Pictures includes an audio commentary by director Mark Obenhaus with some of the skiers, photo montages, and an additional interview with one of the sport's masters.

Though it was ignored during last fall's awards season, Mike Newell's Love in the Time of Cholera might be ripe for discovery. (On the other hand, Jeffrey M. Anderson really didn't like it.) Javier Bardem and Benjamin Bratt star in an adaptation of the novel by Gabriel García Márquez. The DVD from New Line includes an audio commentary by Newell, a "making of" feature, and deleted scenes.

Welcome all to another unbelievable edition of Insert Caption (as seen on the widely popular Cinematical.com)! Last week, we asked you folks to put on your best Jerry Seinfeld impersonation for an image from the comedian's animated flick Bee Movie (now out on DVD). While we got a lot of captions with the words 'honey' and 'what's the deal with ..., ' I don't believe we received any that went something like, "What's the deal with honey?" Yeah ... so what's the deal with that? Congrats to David L. for providing us with a winning caption ... about nothing.

1. "It's not so much that he talks, dear, but that he's actually talking about NOTHING!" -- David L.

2. "Yes, I get it dear, "Bee Mine." But this, this is my freakin' Valentine's Day
gift???" -- Eric S.

3. "I'm sorry sweetie, were you talking? I was just thinking about my enormous chin." -- Eric A.

See full image and all captions

This week we have something very cool (and healthy!) in store for you. Not only will you get to take home a copy of the brand spanking new Atonement DVD (out March 18), but one lucky winner will also ride away with super cool his and hers beach cruisers (as pictured below -- click to enlarge)! With only a few months before summer hits, why not make it so you'll be hittin' the beach in style. Check 'em out folks ...

... now all you have to do is give us your most wittiest caption for the photo below from the hit Oscar-winning movie Atonement, starring the very lovely Keira Knightley and equally as lovely James McAvoy (guys can be lovely if they have an accent, right?). Remember, Atonement hits DVD on March 18. Now sound off below ...

Read the official rules for this contest

Analyzing the weekend box office returns, Leonard Klady of Movie City News saw "no great Oscar box office surge," though No Country for Old Men enjoyed an upward swing; based on his estimates, Best Foreign-Language Film Oscar winner The Counterfeiters (Sony Pictures Classics) topped the indie charts. Hailing from Austria, The Counterfeiters tells "one of the most interesting stories to come out of World War II," wrote Christopher Campbell, though he felt it was "not quite a great film." The Counterfeiters averaged $12,330 per-screen at the seven locations where it played.

French master Jacques Rivette's latest, The Duchess of Langeais (IFC Films) struck Ryan Stewart as similar to La Vie en Rose "in that it works just well enough to support a dynamic performance but contains too many structural oddities, fights too many directorial idiosyncracies and stifles its own momentum too much to succeed on the whole." Rivette's fans came out at both theaters where it opened, averaging $11,250 per screen, according to Box Office Mojo.

Well, the Oscars are a wrap. You can see all the winners right over here.
Cinematical staff did pretty well with our predictions, and so did our readers. You guys picked the winners for Best Picture, Best Director, Best Supporting Actor, Best Actor, Best Original Screenplay, and Best Adapated Screenplay -- the same categories we got right. We missed Best Doc and both actress categories. Not bad overall.

What do you think about this year's Oscars? Did you think Jon Stewart did a good job with the hosting? Aside from the part where he kind of disappeared for the last hour, but I guess they usually do that towards the end when everyone wants to wrap it up already and get to the parties. What were the big surprises of the night? Any huge disappointments? (Go ahead, anti Diablo Cody contingent. You can say it.)

Oh, and who looked awesome, and who didn't? I thought Marion Cotillard, Helen Mirren, Jennifer Garner and Anne Hathaway had the best looks of the night among the ladies. On the guy's side, Johnny Depp and George Clooney both looked hot, and so did Denzel Washington. And Glen Hansard ... yeah, he was adorable too. I'm just saying.

Time for your thoughts on Hollywood's big night -- discuss away!



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If you still haven't seen all the Oscar-nominated films, you're not alone. I still haven't seen a number of them, and I have less excuse than most people. After all, I live in a city in which pretty much every nominee has played. Some major contenders I haven't gotten around to -- with little reason for not -- include Atonement, Sweeney Todd: The Demon Barber of Fleet Street and Into the Wild, all of which are still in theaters and are probably best to see on the big screen.

Apparently, at least according to Variety, a lot of people are seeing the Oscar nominees on the big screen compared to in previous (recent) years, as cumulatively the five Best Picture contenders have seen a significant bump at the box office since the nominations were announced. I would be extremely excited if I didn't believe the truth is that Juno's tremendous success has elevated the Best Picture box office average. The comedy is showing on far more screens, is much more accessible to a wide audience and has so far earned twice as much money domestically as the next highest-grossing Best Picture nominee. Variety also this week had published a story about how Juno is the one movie that may save the Oscar telecast's ratings, since it's the one movie people have actually been able to or bothered to see. One thing I will note, though, is that Best Picture nominee Michael Clayton came out on DVD this past Tuesday and yet there was still a significant number of people seeing it in theaters through the week. Additionally, I would be interested to know how many people took advantage of yesterday's AMC Theatres-hosted Best Picture marathon.

Forget about the nuances of cinematography, the precision requirements of editing, the challenges of costume design, and the dazzle of visual effects. All we really want from a movie is a great quote! I'm kidding, of course -- we want more than quotes -- but every screenwriter dreams that one of his lines will join the immortals ("Frankly, my dear, I don't give a damn," "Forget it, Jake, it's Chinatown"). What are the best candidates from this year's crop of Best Picture nominees?

There Will Be Blood surely must have the edge so far. Daniel Plainview (Daniel Day-Lewis) explains the facts of life to Eli Sunday (Paul Dano) and utters the memorable rejoinder: "I... drink... your... milkshake!" The quote has already taken on a life of its own.

Juno has so many it's hard to choose. Paulie (Michael Cera) says, "I still have your underwear" and Juno (Ellen Page) replies, "I still have your virginity." I also like Juno's dad (J.K. Simmons): "Thanks for having me and my irresponsible child over to your house. "

Michael Clayton is epitomized by George Clooney's line as the titular attorney: "I'm not the guy you kill. I'm the guy you buy!"

Atonement caught my attention when young Briony (Saoirse Ronan) confides in a friend: "What's the worst word you can possibly imagine?"

No Country for Old Men is more about atmosphere and landscape than dialogue, but it's hard to resist: "You can't stop what's coming," spoken by a weather-beaten yet wise Barry Corbin.

Now it's your turn. What are your favorite quotes from this year's Academy Award nominees for Best Picture?

I could have stolen the more dubious headline from Fark.com, but I'd rather just acknowledge that site's ever-hilarious subbys. Plus, I wanted to get straight to the point. The Ukrainians love Jessica Simpson! Either that or they love Luke Wilson, Penelope Ann Miller or Andy Dick. All of these people star in the movie Blonde Ambition, which opened this past weekend in the Eastern European nation and shockingly claimed the #1 spot at the box office. With a gross of $253,008, it actually beat out also-opener Definitely, Maybe and has already out-done the Ukraine releases of Atonement, which has only made $237,481 in 5 weeks, and Alvin and the Chipmunks, which has brought in $235,158 in 9 weeks. People magazine got a quote from Box Office Mojo editor-in-chief Conor Bresnan regarding the news: ""The former Soviet nations have a sweet tooth for straight-up comedies. When these comedies have big name celebrities like Jessica Simpson's, that's all that's needed to sell the movie. Russian and Ukrainian audiences have an even bigger urge for escapism than Americans. So, films like Blonde Ambition will gross more than No Country for Old Men."

Hey, he's right! I can't find any listing for No Country for Old Men grosses in the Ukraine, but Russia and the CIS (Commonwealth of Independent States) do actually like Blonde Ambition a teeny bit better.. The Coen Bros. movie only took in $286,387 in its first weekend while Blonde Ambition grossed $302,531 during its opening. All of this is pretty amazing, considering the Simpson movie barely even received a theatrical release in the States, and even then it only had a per-screen average of $48. I won't go as far as imply that the Ukraine is weak -- as a Fark.com commenter did by linking to this Seinfeld clip -- but it can't be denied that they've got an interesting taste in movies.

You could go batty trying to figure out why Oscar voters like what they like -- these are the rocket scientists who thought Crash was Best Picture material, as opposed to say, a candidate for the worst movie of that year -- so it was only with mild bemusement that I greeted the Academy's decision this year to snub Atonement director Joe Wright, who deserved a Best Director nomination for every reason you can possibly summon. A few reasons: 1) He managed the extraordinary challenge of taking a piece of dense, modern literature and turning it into a compelling drama and a romance that works as a movie without dumbing down the material. 2) He's a talented, 'every shot counts' style of director, who labors over his shot selections and has the visual acumen of a Stanley Kubrick. 3) He deserved a nomination for his last film and got snubbed that time too.

The Guardian recently got its own elaborate set visit to Wright's upcoming movie The Soloist, starring Robert Downey Jr. and Jamie Foxx, and the topic of Wright's snub was on everyone's mind. Downey, in particular, was ready to open up about it, saying that "it's a f**king crime Joe wasn't nominated. He's the goods, man, he really is." When Wright was asked directly about it, he responded "Well, out here it's all they bloody talk about, so yes for twelve hours or so I was gutted because everyone seemed so angry about it on my behalf. Then I just looked around and thought: What am I even thinking? I'm making a movie in Hollywood with these amazing actors I'd only ever seen sitting there in my cinema seat like a mad fan -- and they seem excited to work with me for some reason." A pretty classy response.

The snub talk is only one part of a huge and interesting set visit report that includes new details about The Soloist and a lot of funny stuff with Robert Downey, Jr. Here's a sample, to leave you with -- Downey talking about his working relationship with Wright: "First day, I said 'Listen Joe, just don't f**k with me and we'll be okay.' But the whole point is that we're supposed to f**k with each other and he did f**k with me -- for some reason he got under my skin and f**k, it worked."

Every year as we approach the Academy Awards, there are always people who complain about the best picture nominees; how the films are too obscure and that no one actually watched them. With the exception of Juno (the obvious crowd favorite), that may once again be the case this year. While films like There Will be Blood, No Country for Old Men, Michael Clayton and Atonement are talked about in great length amongst critics and the like, none of these films made a ton of money at the box office. So, you may know the names, but you might not have seen the films. Well, if that happens to be the case, AMC has got you covered.

That's right, for one day and one day only, AMC Theatres will screen all five best picture nominees for those who want to head into the Oscars with an all-knowing state of mind. The screenings will take place on February 23, the day before the Oscar ceremony, and all you have to do is cough up $30 and find an AMC Theatre near you that's participating in this special event. In case you're wondering what that thirty bucks gets you, be aware that, aside from admission to all five films, you also get a free large popcorn (estimated at $1,375) and free refills all day long. Did you hear that people -- free friggin' refills! The day shall begin at 11am with a screening of Michael Clayton and conclude at 9pm with No Country for Old Men.

For all the details (including which theatres are participating), head on over to AMC's official site.

What makes a film romantic? Is it the setting, the dialogue, the actors, the sex? And when your snuggling up next to your significant other this Valentine's Day, which films will you prefer to slide into the DVD player? Moviefone has assembled the definitive list -- the top 25 romance films of all time -- and now it's up to you to decide what they got right, what they got wrong and what they didn't get at all. Of course, Casablanca tops off the list at number one (is there a list in which Casablanca is not featured in the numero uno spot?), but following closely behind are Titanic (#2), Wuthering Heights (#3), An Affair to Remember (#4) and Gone with the Wind (#5). Obviously, when we're talking romance flicks, they don't make them like they used to.

When it comes to films made within the past few years, we don't find one until Brokeback Mountain shows up at number 12, followed by Eternal Sunshine of the Spotless Mind at number 15, and last year's Atonement at 18. Personally, I have a few issues with placement -- not so much with the films themselves -- like why Sleepless in Seattle is at 25 when it should've been higher. Films that didn't make the cut? Surprisingly, not many romantic comedies made the list. Even though they rely more on humor, some of us enjoy a little laughter with our cheesy romance. That being said, why not throw When Harry Met Sally a bone? Or even last year's Knocked Up? Either way, let us know what you think about the list below -- which films belong in different spots, which don't belong on the list at all and which are your favorites?

Finally opening in the US after receiving rapturous reviews at Cannes last May and landing atop many critics' top ten lists for the year, 4 Months, 3 Weeks, 2 Days easily led the field this weekend, according to estimates compiled by Box Office Mojo. Shut out of the Academy Award nominations for Best Foreign Language Film, the Romanian abortion drama nevertheless drew big crowds to the two theaters where it opened, averaging $24,100 per screen for distributor IFC.

Playing on 61 screens, U2 3D scored an impressive $15,508 per screen average. Opinion has been divided as to whether the possibilities of 3D were effectively used, with our own Christopher Campbell arguing that the film is important to experience, while Nick Schager was more critical. And for anyone concerned about the higher ticket prices charged for the 3D experience, Bono told USA Today: "I'm hoping that all the people in high school or who are college-age and don't have the cash to go see us can go see us for a low price with this film."

Reveling in its Academy Award nominations, Juno soared just past the $100 million mark, increasing its weekly take 3.5% while dropping 108 theaters. It's still playing at more than 2,400 locations in its eighth week of release for distributor Fox Searchlight.

Fellow Best Picture nominee There Will Be Blood fared well as Paramount Vantage continued its roll-out. Now playing in 885 locations, its per-screen average was a healthy $5,522. Best Picture nominee Atonement was down a bit ($2,832 per-screen at 1,400 engagements) and No Country for Old Men was up ($2,261 per-screen at 1,107 locations). Playing on just 58 screens, Best Animated Film nominee Persepolis had the fifth-best per-screen average of the weekend ($6,034) for Sony Pictures Classics.

Among other limited releases, Teeth performed quite well, averaging $4,212 at 16 theaters in its second week out.

It didn't win any Golden Globes, but Juno still reigns supreme. Jason Reitman's likable teen comedy made another $10.25 million for distributor Fox Searchlight, according to estimates compiled by Box Office Mojo. That works out to a per-screen average of $5,197 at 2,915 engagements. The box office take is down 24.7% from the previous week, which indicates continued good word of mouth; the film's cumulative gross in seven weeks of release now stands at more than $85 million.

Forget about 27 Dresses; the real perpetual bridesmaid is Joe Wright's Atonement. The period romantic drama expanded by more than 300 theaters and maintained its solid performance for Focus Features. The film's weekend gross swung upward by 12.7%, resulting in a per-screen average of $3,686 and a cumulative total of $31.8 million.

Demonstrating that nobody in the general moviegoing public really cares about the Academy's best foreign film shortlist, audiences still flocked to Persepolis, giving it the highest per-screen average of the weekend: $9,366, in 30 theaters.

Paramount Vantage expanded Paul Thomas Anderson's magnificent There Will Be Blood from 129 to 389 locations with good results; the film demonstrated surprising strength, averaging $8,023 per screen for a four-week total of $8.1 million. I say "surprising" only because of its subject matter and the length of its running time.

Poor Woody Allen. I generally agree with Jeffrey M. Anderson that Cassandra's Dream is better than you might have heard, though I think it nearly falls apart completely at one point. There were barely 20 people at the 10:00 pm screening I attended on Friday night at its only Dallas engagement, but in other cities the reaction must have been better, as the film pulled in $4,682 per screen at 107 theaters in key cities nationwide for The Weinstein Co.