CINEMANIA:

Charlie Wilson's War (USA, 2007, Mike Nichols)

Mike Nichols may not have the sort of critical reputation of a Scorsese or the kind of popular success of a Spielberg that would place him near the forefront of directorial talent in American cinema, but he does have a rock solid resume in a mixture of genres that places him comfortably in this field's second tier. It has been over four decades since he made his debut with his wicked take on Albee's corrosive Who's Afraid of Virginia Woolf, and followed it up with what would prove to be his one enduring classic, The Graduate.

Sweeney Todd etc. (USA, 2007, Tim Burton)

And so it has finally arrived, Tim Burton's ghoulish take on Stephen Sondheim's revered musical. And while I'm no Sondheim expert, in fact I'm something of a neophyte (and if you are as well, Noel Murray over at the Onion's AV Club offers up a stellar primer on the man's career), I have to say that I was endlessly entertained by the film.

The Kite Runner (USA, 2007, Marc Forster)

Marc Foster, whose attempt The Kite Runner is to adapt Khaled Hosseini's award-winning novel, is the same man who helmed the treacly Finding Neverland, the fitfully entertaining Stranger than Fiction, and the earnest but slight Monster's Ball. Which is to say that Forster's output hasn't really given us any indication that his films contain any of the earmarks of an auteur.

Before the Devil Knows You're Dead (USA, 2007, Sidney Lumet)

Before the Devil Knows Your Dead sure sounds like a great idea, a neo-noir examination of the disintegration of the American Dream as filtered through the tragically dysfunctional relationships of a "typical" American family, with the added credibility of the hiring of wizened cinematic veteran Sidney Lumet to helm the project. Indeed, there is little doubt that the accoutrements are there for a fine noirish thriller.

I am Legend (USA, 2007, Frank Lawrence)

The first act of I am Legend, director Francis Lawrence‘s interpretation of Richard Matheson‘s oft-filmed apocalyptic novel, is remarkably compelling. Lawrence (Constantine) presents a city that is going to seed, but which still retains much of its majesty.

The Darjeeling Limited (USA, 2007, Wes Anderson)

And so I finally got around to seeing the latest joint effort from Wes Anderson and Owen Wilson. Keeping in mind that this is the first (mini-) review I've written in three months, I will say that while I enjoyed it at the level of pure whimsy and it is undeniably charming, due in no small part to the appealing cast and Anderson's oh so twee visual and aural compositions, it is easily the slightest of the four Anderson films.

The Return of Cinemania's Screen Cap Quiz

Summer holidays are a beautiful thing, and while I've been found guilty of neglecting my duties around old Cinemania, I have escaped charges on the negligent father and husband front, at least for another year. But now I'm back, and ready to get back in the pilot's seat, so let's see to what majestic heights this week's screen cap quiz takes us, shall we? I just recently saw both of these films for the first time.

Fanny and Alexander (Sweden, 1982, Ingmar Bergman)

Wherein Ben and I gush over the crowning achievement in a peerless cinematic career.

Ben Begins:

I know this Zen aphorism. Before you study Zen, a bowl of rice is a bowl and rice. While you study Zen, a bowl of rice is not a bowl and not rice. After you study Zen, a bowl of rice is a bowl and rice.

Bridge on the River Kwai (Britain, 1957, David Lean)

Wherein Ben and I, whenever we feel afraid, we whistle a happy tune. And could there be a more misleading movie poster?

Ben Begins:

Another title from Jacob's to-see list derived from his must-see book. A nice change for me because this is the first such selection that was new for me. I am betting that you have had occasion to watch TBOTRK but even if you have not, the film is so famous, I cannot think that you are unfamiliar with the plot.

Screen Cap Quizzical'

All right, so here I am, back in your grill daring you to show me up by identifying two wildly disparate films chosen randomly from my DVD collection. If you can correctly identify BOTH films, you will win this week's Grand Prize, an autographed copy of Douglas Coupland's screenwriting debut, Everything's Gone Green. All right, so the autograph is mine and not Coupland's. What of it?

And, as always, don't cheat. You'll just feel dirty in the morning.