Cinematical

Our brothers and sisters over at TV Squad have busted through the boob tube and brought with them the following juicy bits of must-see eye candy.

• Is it possible that Oprah Winfrey's long-running talk show may be coming to an end? Find out right here.
• I realize he's done some acting but I'm still scratching my head at the notion of Jon Bon Jovi appearing on the season premier of Inside the Actor's Studio.
• FX is taking a stab at the western genre with Reconstruction.
• Here's a sneak peak at the CGI Dr. Who adventure (featuring David Tennant) that will be airing on the BBC later this year.
• Turner Classic Movies will be hosting a classic film festival at three Hollywood locations.
• ...and finally our wait is over, America, Judge Wapner will be returning to The People's Court, at least for a day.

Actors might make a lot of money, but at least they work for it with long hours on set, paparazzi insanity, exhausting PR tours, and the pressures of handling the same questions over and over and over again with grace and charm. But even more impressive is when they can be graceful in the face of utter ignorance or idiocy.

We've watched John Cusack get interviewed by a clueless film student, and now (after the jump of course) you can see Ian McKellen handle the women from The View. Ah, there's nothing like having your television interview start out with an inflammatory rant about swine flu and socialized medicine. It's not a surprise really -- the once-sweet Survivor star Elisabeth Hasselbeck has made a career out throwing wild rants into unusual places on the show. But, sadly, that's only the start of the nonsense that McKellen handles with dashing grace. Whoopi Goldberg can't keep her actors straight, and Sherry Shepherd pulls off one of those classic moments where a clueless interviewer reads crap off the cards without knowing what the hell she's talking about.

Yet, in the face of all that, McKellen is pure charm. I always find that impressive. Sure, he's an actor and makes his living making fiction convincing, but to be ready with that clever retort, graciously correct someone who should know better, and take it all in stride ... I wouldn't say this about most of Hollywood, but I think we can all learn a little from that small part of the biz.

We're told at the beginning of The Men Who Stare at Goats that "more of this is true than you would believe." But the story of the U.S. Army's attempts to harness psychic powers to create super-soldiers is so bizarre it almost HAS to be true, in accordance with the "how could anyone make this up?" principle. In fact, I believe more of this admittedly fictionalized story than I do of The Fourth Kind, which claims to be 100 percent true. Surely there's a lesson in there.

Based on Jon Ronson's nonfiction book, The Men Who Stare at Goats stars Ewan McGregor as Bob Wilton, a journalist covering the Iraq War in 2003. Bob meets a man named Lyn Cassady (George Clooney), a private contractor with an unusual past: He claims to have worked for the government as a psychic spy. Bob once met a man, back home in Michigan (played by Stephen Root), who made the same claims, and who named Lyn Cassady as one of his colleagues.

You can see why the military would be interested in psychic spying. Surveillance is a lot less dangerous when you can do it entirely with your mind, rather than having to actually sneak up and eavesdrop on people. And if we could harness things like telekinesis, well, forget about it! We'd beat the Russkies for sure!

Good news, Twilight fans. You have the first official news for the third Twilight installment, courtesy of our own Jen Yamato, FearNet and the New Moon junket.* The magically-coiffed Robert Pattinson has confirmed that Breaking Dawn will begin filming in Fall 2010, and that it's penciled into his schedule for next year.

Of course, Dawn remains unconfirmed by Summit. The most controversial installment of the Twilight series, rumors swirl that the studio is hesitant to take it to the big screen. If it is made, it seems likely that it could be split into two films a'la Harry Potter and the Deathly Hallows. Personally, I don't see Summit risking the money they'd make on #4, and they'll find a way to steer around the gorier aspects of the book. But now you know when to look for it, though you still have the madness of Eclipse pre-production to get through.

Pattinson also dished on the movie I want to mark on my calender (Sorry, I dig boots and spurs more than vampires), a Western called Unbound Captives. The directorial debut of Madeleine Stowe, it stars Hugh Jackman, Rachel Weisz, and Pattinson. The young heartthrob revealed that it's tenatively scheduled to begin shooting in early 2010, and he sounds enthusiastic for a role that'll be miles away from Edward Cullen. "I'm playing a kid who is kidnapped by Comanches when he was four years old, and he is brought up by them. His mother spends her entire life trying to find me and my sister. When she finds us, we can't remember who she is and can't remember anything about the Western culture she grew up in. I speak Comanche the whole movie. You can't really speak more differently from Edward."

[Special thanks also goes to Collider who apparently pried the Breaking Dawn date out of Mr. Pattinson]

Watch enough movies and you learn pretty fast that they aren't about reality, they're about entertaining us. Which sometimes makes the world of the biopic a little tricky, because not only do you have to work in the truth, but you still have to keep those butts in the seats -- and the results are not always good. Over at Moviefone they've compiled some of the worst movie biopics, and no one was safe -- with films earning a spot for mixing up their facts, ridiculous casting, or just downright lazy filmmaking.

So who made the list? Well, you've got your usual suspects like Oliver Stone's Alexander, a film that has so much wrong with it I don't know where to put the blame (oh, that's right, on everyone). Other films that made the cut for the less than flattering title of 'Real Life Catastrophes' were Kevin Spacey's Bobby Darin flick, Beyond The Sea, Luc Besson's The Messenger, and Alan Parker's Evita. But don't think the classics made it out unscathed either, because both Captain Eddie and The Babe Ruth Story also earned a mention.

As a genre, I love biopics -- especially the bad ones. I've watched everything from made-for-TV movies on The Beach Boys to high art flicks like I'm Not There. So no matter what kind of biopic it might be, I will usually give it a chance. Over the years, I've seen movies that bend the truth and those that just mess it up entirely, but that doesn't mean I didn't enjoy them. Besides, if you're looking for unadulterated facts, you should probably head to the library and not the multiplex.

After the jump: five of my favorite movie biopics...

Back in August was when G.I. Joe: The Rise of Cobra hit the screens, and while I had no reason to expect anything but a merciless brain-pummeling from the experience, I walked out suitably impressed with the flick's popcorn-tastic mentality. I even ended my review with this: "Truth be told, the flick's action centerpiece, a crazy chase through Paris, will soon be on heavy blu-ray rotation around my house." Yes, the director who slapped me with The Mummy Returns and pummeled me with Van Helsing is now back in my good graces. (The awesomely amusing Deep Rising is always the tie-breaker for Stephen Sommers.)

You can enjoy my wonderfully insightful G.I. Joe review right here if you like, but this time out I just want to focus on the blu-ness and not the wackness: If you liked the flick, you want to own it on Blu-ray, trust me on that one. The supplemental features are basic but well-produced: there's an audio commentary with Sommers and producer Bob Ducsay that shows a good deal of enthusiasm and preparation on their part, plus on disc 2 you'll find a pair of rather slick and thorough featurettes: the 30-minute The Big Bang Theory is the "catch-all" behind-the-scenes piece that covers a lot of bases, and Next-Gen Action (about 20 minutes) focuses more intently on the special effects and production design.

I'm not sure why, but Overture Films has chosen to downplay the "based on a true story" aspects of their high-profile new satirical film The Men Who Stare at Goats. The film finds Ewan McGregor as a journalist looking for a story in Iraq who stumbles across a former member (George Clooney) of a special platoon of psychics employed by the U.S. military. While many moments in the film seem outlandish and ridiculous, they become even more jaw-dropping with the knowledge that the film is based on fact.

Author Jon Ronson first explored the topic of remote viewers and psychic super-soldiers in a three-part Channel 4 television documentary, The Crazy Rulers of the World, the first part of which ("The Men Who Stare at Goats") he turned into a book in 2004. It's amazing to see the very real people behind the First Earth Battalion (renamed the New Earth Army in the film) recounting the bizarre stories that are brought to life on the big screen in the quasi-fictional movie by writer-director Grant Heslov.

It's a must-see if you plan on catching the film, and absolutely fascinating. There's a cynical side of me that would like to assume the members of the First Earth Battallion all are crackpots, but there's too much fact mixed in with the weirdness for me to dismiss it outright.

You can see the first episode of Jon Ronson's original documentary, in its entirety, over at SciFi Squad.

At a press junket earlier this summer for 2012, Roland Emmerich told reporters he's not doing any more blow-'em-up flicks. "I would not know how to top this... It's just one of these things, you know. I had a hard time deciding to do another disaster movie, but... you cannot make a disaster movie if there's not something --- an idea in this disaster which elevates it to something more than a disaster. And so it was this idea, you know, that there will be a global flood and it's a retelling of Noah's Arc."

Later he added, "It's not my last film, it's my last disaster film. And that's because I wouldn't know what else to do. It's just, you know what, I really didn't want to do this movie at first... But when I decided that the idea was too good to not do it for the reason I had done before, I said, okay, if I do it, I will do it in such a spectacular manner that nobody can top it for a long time. I have that pride in my work."

The upcoming The Danish Girl is one of those independent, edgy films that has all the right elements for something brilliant, but it's subject matter is so tricky that it could end up becoming a farce. Based on David Ebershoff's novel, The Danish Girl is the story of the world's first post-operative transsexual, Einar Wegener, and his wife, Greta. Tomas Alfredson is set to direct, Nicole Kidman has long been attached to play Einar, and Variety reports that Gwyneth Paltrow has stepped in to play Greta. She's stepping in for Charlize Theron, who originally held the role, but has dropped out for unspecified reasons.

The story takes place in 1920s Denmark. Greta* was a portrait painter, and needed a model. She asked Einar to step into a dress, stockings, and heels, and created some kind of awakening in Einar. In women's clothes, her husband became an outrageous character named Lili. The paintings of Lili became extremely popular, few realizing a man had stood in for them. Lili than took on a public life of her own, and Greta often introduced Lili as her sister. Eventually, Einar / Lili decided to commit to gender reassignment surgery, a dangerous and experimental procedure at the time. Greta stood beside her husband until his transformation was complete, and then their marriage was declared null and void by the King of Denmark.

After heaps of buzz and praise, and our own Eric Snider saying: "it's compelling and artistic, punctuated with warm humor and masterful performances, and ultimately triumphant and hopeful," Precious: Based on the Novel Push by Sapphire is finally hitting theaters today. It's a harrowing look at one girl's traumatic young life of being pregnant with her second baby (by her father), abused by her mother, and struggling with illiteracy and obesity. In other words, a movie that demands you to think and feel -- to be touched beyond the 110 minute span of the film.

Naturally, that made me think about movies that haunt us. It can be for any number of reasons -- because of a film's thought-provoking power, how it's filmed and presented, the way it latches on to pain in our own experience, unsettles our own belief systems, angers us, or challenges us. Whether it ends sadly, or with hope. Whatever the reason, certain films seep into us and refuse to leave, whether it be for a few fleeting post-credits moments, or a week, month, year, or lifetime.

Upon leaving Requiem for a Dream the first time, my friend and I couldn't get the music out of our heads. We couldn't stop repeating the same thoughts as our brains tried to process them. Even if I don't see the film before my eyes, the music brings back every feeling, every moment of tenseness. As the credits started moving in Dogville, I couldn't shake the last powerful moments out of my head. It took a while to shake the gooseflesh from my arms, and every time I let my mind slip back, there's a brief jolt of shocked memory.