As with most any other genre, pitching a thriller seems to go that much more swimmingly once one finds an ideal blockbuster reference point with which to do half of the leg work. It's 'Die Hard meets this', 'Speed on a that', and, when in doubt, just say the damn thing is 'Hitchcockian'.

Post-2001, the likes of TV's '24' and 'Sleeper Cell', and film's Jason Bourne franchise, have tapped into both our political climate and pop culture zeitgeist, into a globe-trotting, gun-toting fear of the here and there and always now. Jeffrey Nachmanoff's Traitor feels like the first film that has itself been directly spawned in the wake of those successes, as opposed to merely being bolstered by it, and while it may overtake, say, Vantage Point in terms of plausible plotting and worldly knowledge, it remains a film that is good enough to grasp the bar and yet not quite enough to raise it.

The dog days of summer hit the indie box office this weekend, as the top earner was a film in its third week of release. Elegy, directed by Isabel Coixet and starring Ben Kingsley and Penélope Cruz, expanded from six to 92 theaters and grossed $5,546 per screen, according to estimates compiled by Box Office Mojo. The adaptation of a novel by Philip Roth has not been universally praised, but maintains a strong 74% positive rating at Rotten Tomatoes. I can't help but conclude that Penélope Cruz is the art house crowd's answer to Megan Fox, because . . .

. . . Cruz also stars in Vicky Christina Barcelona (pictured), which made $4,339 per screen in its fairly wide (692 theaters) second week. Woody Allen's latest features other pretty people such as Javier Bardem and Scarlett Johansson, of course, and has very good reviews behind it, yet it's silly to ignore the current Cruz heat factor.

As Eugene has already noted, Andrew Fleming's Hamlet 2 got a jump start on its wide release by opening on 103 screens, but its average of $4,223 "doesn't inspire confidence for the expansion." Will this slow down star Steve Coogan?

Suspense drama Transsiberian ($4,157 per screen, 38 theaters, 6th week), tense drama Frozen River ($4,048 per screen, 41 theaters, 4th week), and mystery thriller Tell No One ($3,643 per screen, 101 theaters, 8th week, $3.8 million total) continued to draw well, while debuting debt doc I.O.U.S.A. made $3,461 per screen at 18 locations.

The Asian Film Festival of Dallas wrapped up last week with actor/action choreographer Tak Sakaguchi (Versus) in attendance to screen his directing debut, Be a Man! Samurai School. Unfortunately, I missed that night, but two films that screened earlier in the fest stood out for their unique visions.

Indonesian movies are hard to come by in the US, so I confess my total ignorance about the country and its cinema. Is Kala (AKA Dead Time) representative in any way? I don't know, but I very much liked its mix of dramatic mystery and supernatural lore. Director Joko Anwar has a great eye for composition -- he's really good with looming shadows -- and harbors no fear of traveling down well-trodden paths before adding his own odd twists. The film doesn't completely hang together in the narrative sense, and the ending is probably too apocalyptic for its own good, but any movie that features a narcoleptic journalist, a world-weary cop, and a serial-killing spirit deserves attention.

When I describe Muay Thai Chaiya as "insane," it is with all due respect for a movie that begins as a straightforward tale of three ambitious boxing buddies before nearly drowning in soapy melodramatics. What rescues it from terminal dampness is writer / director Kongkiat Khomsiri's complete embrace of a go-for-broke, everything-but-the-kitchen-sink aesthetic that's reminiscent of trashily enjoyable, "C"-level, late 80s Hong Kong action pictures. Toss in sincere regret, romantic betrayal, and more self-sacrifice than you can shake a stick at, and Muay Thai Chaiya edges into "very watchable, never boring" territory.

Unfortunately, neither film is available right now on Region 1 DVD. Muay Thai Chaiya will be playing at Fantastic Fest next month. Both Kala and Muay Thai Chaiya also have official sites.

No one seems to know how to feel about Guy Ritchie's Sherlock Holmes -- it has Robert Downey Jr. in the lead, and yet the buzz is curiously off. Of course, it's difficult to get too excited about a movie that dodges its source material in favor of a comic book that has yet to be released. It puts discussion in a bit of a nowhere land.

But, I'm going to try anyway. Ritchie talked a bit about the Victorian reboot to USA Today. "It will be a very big production, visceral and intellectual," Ritchie said. "His brilliance will percolate into the action. His intellect was as much of a curse as it was a blessing. He was a deeply layered character." And he's not particularly concerned about Sasha Baron Cohen's comedic version. "They don't even have a script yet. We are way ahead."

And how did they snag the Iron Man-of-the-Moment? Downey Jr. became involved due to his wife, Susan, who is one of RocknRolla's producers, and an early fan of the film. His English accent, Ritchie insists "is flawless." I hope it's improved since his Restoration days.

While USA Today says there's no word on the casting of the villain, Digital Spy was reporting (via Ritchie at Empire's BFI Movie-Con) that the honor was going to Mark Strong. But there has been no official confirmation of that, and Warner Bros refused to even comment. Casting is expected to be finished in six weeks. But what characters from the Conan Doyle canon will appear is a mystery. Ritchie hasn't confirmed the appearance of Professor Moriarty, but he has said there will be a love interest based on Irene Adler, who appeared in the original Holmes story A Scandal in Bohemia. Holmes' admiration for Adler is legendary -- and it speaks well to Ritchie and Lionel Wigram's take that they are including such well known characters.

Join me in being cautiously optimistic about this project. After all, the film world is always harping on Ritchie to break his gangster mold, so let's support him when he does.

Things rarely go smoothly for costumed adventurers -- and the courtroom, it seems, is no exception. Nikke Finke reports that a federal judge has denied to dismiss 20th Century Fox's legal claim on Watchmen. You may remember that they filed a lawsuit back in February claiming that their rights to the DC property still held. They seek an injunction to prevent Warner Bros' adaptation of Watchmen from being released at all.
And at this point, that federal judge agrees with them.

Warner Bros, obviously, cries foul. They point out that several studios have tried to develop the property for years, with Fox saying nary a word, and passed up the chance to properly reacquire the rights some time back. Their view of the lawsuit is that it's just an opportunistic grab on a movie that has been gaining more and more buzz. You can read the whole legal chronology over on Deadline Hollywood (Finke's done a top-notch job of documenting the ins and outs) and see which side you come down on. It's exhausting -- isn't this what studios have lawyers for? To avoid this kind of last-minute litigation lunacy?

It's unlikely that the movie will really be delayed -- but it is possible that Warner Bros. will have to hand Fox a substantial chunk of change in order to release the film, as they had to do for Dukes of Hazzard some years back. As one of Finke's readers noted, suddenly the Harry Potter and the Half Blood Prince schedule shift makes a lot more sense. The studio's 2009 budget could be pretty tight.

Watchmen opens (hopefully) March 6th, 2009.

Unfortunately, I did not manage to catch this extended TV spot for The Curious Case of Benjamin Button during NBC's Olympic coverage, though, luckily, one person did. I imagine this will eventually become the film's second trailer, and it'll hopefully arrive online in a higher quality at some point this week, but for the time being you can scope out a somewhat decent (except for the annoying beeps here and there) video of the spot above (courtesy of The Tube).

Some of what's included here is also in the film's first trailer (catch that in HD on the flick's official website), but we also have a bunch more dialogue, tons of amazing visuals and .... well, watch for yourself. While you never know what the final product will deliver, I can say this film is showing some tremendous, buzz-worthy promise right now -- especially with a director like David Fincher and a cast that includes Brad Pitt and Cate Blanchett (last time these two shared the screen, Babel was nominated for seven Oscars). Needless to say, I'm preemptively putting this on my top ten list for 2008 and crossing my fingers at the same time.

The Curious Case of Benjamin Button arrives in theaters on December 19.

The other day we wrote about the new horror flick Jack Brooks: Monster Slayer (which hit theaters this past weekend), and Cinematical reader Aaron L. (who also happens to be a very good friend of mine) pointed out the fact that Jack Brooks director Jon Knautz had helmed a very cool short back in 2005 called Still Life. I forget exactly when I first saw this short (probably during one of Gen Art's many, many functions/contests/parties), but I remember absolutely loving it over and over again. And we've actually written about it on at least two other occasions, though it's been awhile and, well, I felt our new (and old) readers would like a little something to watch while you eat lunch/surf the internet, etc ...

The short, which runs about eight minutes, follows a very sleepy driver who's in desperate need of a rest and some gas. When he pulls off into a small town, however, he notices that it's populated by mannequins. And that's all I'll say about that. Definitely check it out if you've got a few minutes free, and then hunt down Jack Brooks: Monster Slayer (read our review here) -- a film most of our team here at Cinematical dug quite a bit.

If you were a young whippersnapper in 1992, chances are the Goosebumps books were a lurid staple on your bedside table. My sister was an enormous fan, whereas I preferred, shockingly, Star Wars novelizations and sword-and-sorcery. I was just a little too old for their goofy twist endings -- although the single one I read gave me nightmares, I think because a dog was killed or something. (Let's ascribe it to a fragment of underdone potato, shall we?) In retrospect, you really are what you read as a kid -- my sister went on to a lifelong love of Stephen King and Edgar Allen Poe, whereas I memorized Beowulf.

Well, now they will get to terrorize and influence even more children, because Goosebumps is coming to the big screen. According to The Hollywood Reporter, Columbia bought the rights to R.L. Stine's endless series in May, and has now hired Larry Karaszewski and Scott Alexander to pen a script. Columbia is hoping to turn it into a franchise -- and since there are 62(!) books currently lining bookshelves round the world, they will have plenty of material to choose from. It's not clear which book they will adapt first, or if the film will be a hodgepodge of several. At this time, no director is attached, though producer Neal Moritz already has an eye for casting. He wants unknown children, and well-known adult actors in supporting roles.

Many of the books are homages to classic horror films, like Night of the Living Dead and Invasion of the Body Snatchers. If the books inspired a love of horror literature in my sister, perhaps the films will create a whole new generation of Scott Weinbergs. I know there's probably a number of Goosebumps readers out there so share your fond memories, nightmares and I-hope-they-film-this-one thoughts below ....

When a film called Mirrors opens with a man fleeing desperately from said objects, it doesn't bode all that well. When that individual soon falls victim to a grisly demise at the sight of them, well, there's something to be said for the fact that there is ultimately nothing to see in Mirrors that is worth grabbing something sharp over. Unfortunately, there is also nothing that you probably haven't seen before in The Ring, The Grudge, or any number of exhaustingly similar American remakes of Asian spook stories.

And what a shame that we find ourselves having to associate the likes of Alexandre Aja with lackluster horror. Well, to be more accurate, luster is just about all he has to offer here, a slick sheen on a stale story. It's nice to have a legitimately menacing score in between shameless jolts!, and if we're to be treated to the same 'gotcha!' shots with depressing frequency, at least the lighting and lensing bring an equal amount of polish to the proceedings. Who knows: With enough technical prowess at play, maybe Aja can get someone to mistake this film for Shinola after all.

It's been a while since we heard anything about Johnny Depp's second foray into the world of comic book adaptation, otherwise known as Rex Mundi. Back in 2006, Depp purchased the rights to Arvid Nelson's Dark Horse series under his Infinitum Nihil banner, with the intention to star as Dr. Julien Sauniere.

To refresh your memory, Rex Mundi is set in an alternate history where Martin Luther was assassinated, the Reformation never took place, and the Catholic Church still reigns supreme. The comics take place in the 1930's, in a world where the Inquisition still runs rampant, Europe is ruled by monarchs, but magic manages to exist. Into this walks Dr. Sauniere, who finds himself investigating the disappearance of a medieval scroll, and a trail of horrific ritual murders. You can find out more on its official site, if you're interested. Depp was drawn to the project not because he's a comic reader, but because he's keenly interested in the Templar Knights, and "loves that kind of research" according to Barry Levine, who's co-producing.

According to MTV, Rex now has a script, penned by Jim Uhls, and is looking for a director. Depp has been right in the thick of all the decision making, says his co-producer Barry Levine. "The second draft is now coming in from Jim, and Warner Bros. is pretty excited about it. They came up with a couple of names for directors, so now we just need Johnny to look at the list. It all begins and ends with Johnny. He's got to be happy with the script, and he gave his notes, so we'll see what happens next."