Iron Man opens this week, and thus the summer movie season has officially arrived. I love a good summer movie as much a the next guy, but this morning I found myself looking back at some of the little films that cropped up during the summer; some of them managed to get a "summer" feel on a much lower budget and without all the advertisement and hype. My absolute favorite summer art house movie has to be Tom Tykwer's Run Lola Run (1999). I saw it three times that summer, and each time I clutched my seat, my heart pounding. I was amazed at how brilliantly Tywker had mapped out his three possible storylines and how lovely the small, quiet interludes were. I loved Franka Potente, and I loved his throbbing score, which practically entered into your bloodstream and pumped up your adrenaline by hand. Every color, movement and cut was designed for maximum effect (I've always been puzzled how Tykwer's movies since have seemed so long and sluggish.)

Also that same summer, John Sayles delivered his baffling adventure/suspense film Limbo, which had several people trapped on an island awaiting rescue and stalked by bad guys. The ending had everybody in an uproar and caused the film to die a quick death. The summer before that one, Darren Aronofsky's debut feature Pi gave me a good dose of sci-fi thrills, as well as a few head-scratching puzzles (which were actually real). 2000 was a particularly bad summer, but John Waters' Cecil B. DeMented provided a mischievous little oasis in the middle of it all. In that film, renegade filmmakers kidnap a Hollywood starlet and force her to be in their indie production; each team member has a tattoo of a maverick filmmaker's name. (I've often wondered which filmmaker's name I would pick for a tattoo? Maybe David Cronenberg...)

In a little over a week from now, Iron Man crashes into theaters -- signaling the official start of the summer movie season. I know we say this every year, but come September, we could be looking back at one of the greatest summer movie seasons in history -- with popular franchises like Indiana Jones, Star Wars, Batman, Hellboy and The Chronicles of Narnia returning to the big screen. We're eagerly anticipating the arrival of new superheroes like Iron Man and Hancock, there's another adorable Pixar movie, an equally-as-adorable stoner flick from Judd Apatow and the revival of a very funny '60s television show on the big screen. What's not to love?

So in the spirit of sharing our love (or lust, depending on the lighting) for all things movie-related, we at Cinematical present our 10 most anticipated films of summer 2008. Our writers got together, looked things over, and, after sending the information through a magical robot (who talks like a black Robert Downey Jr.!), here's what we came up with. Click on any of the 10 photos below to get started ... and feel free to enjoy all the goodies we have on the other end. (Just leave the bag of Twizzlers for me, please).

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What is it with Agent Spalko and pointing? We've already seen pictures of her brandishing her sword at Indy, at Mutt and now here comes a new picture of her pointing her finger directly in Indy's face, or else just past his line of sight towards something off in the distance -- to be fair, I think it's the latter. That's just one of three new pictures from the forthcoming Indiana Jones and the Kingdom of the Crystal Skull that have popped up in an Italian magazine, L'espresso. Another of the pics is intriguing because it seems to show us Indy with a giant sword tucked into his trousers -- has he vanquished Spalko and taken her pointy stick by this point in the film? Will Indy have a sword battle in this film? Boy, I hope not. Also, we get our first look at the much talked-about 'quicksand' scene, although it's too much of a close up to give any real detail. We see Indy coming face to face with a snake just as he's seemingly about to sink into the sand. I think I get the idea here -- he'll have to grab onto the snake in order to get out of the sand, so it's a bad choice either way.

I can't imagine I'll be up early enough tomorrow to catch the premiere of the trailer on Good Morning America, but on the subject of 'Indy and publicity',' producer Kathleen Kennedy recently made the rather eyebrow-raising statement that the film would hit theaters in May without the accompaniment of a press junket -- what's that all about? I know The Beard is prickly when it comes to interviews, but as Jeff Wells pointed out, how hard could it possibly be to get Karen Allen and Shia LaBeouf to free up some time to actually do some press for their movie? I'm thinking Kennedy was probably speaking without thinking, since Paramount probably wouldn't stand for such a thing.

Additionally, after the jump check out another, more revealing Indiana Jones and the Kingdom of the Crystal Skull cover for the upcoming Dark Horse comic due out this May. This will be part of a two-issue comic book adaptation, and the second issue reveals a bit more ... skull on its cover.

Can such a large project as the Superman sequel unravel in a single day? Certainly seems that way, doesn't it? First there was the Anne Thompson blog post which made the rounds earlier in the day (see our post on it here), in which she speculated -- and it seems a given that she wouldn't make such a speculation unless she had some info to back it up -- that Bryan Singer was likely to throw off the long-in-doubt sequel to the mediocre-performing Superman Returns in favor of concentrating on his other upcoming projects. I personally don't see the logic in this, since Valkyrie is already in the can and the Harvey Milk film will be a small thing that need not trample on a huge payday like the Supes sequel. However, Thompson also made a sideways reference to what may be the real issue -- Warner Bros.' increasingly obvious intention of using the upcoming Justice League of America as a way of rebooting said underperfoming Superman film by tossing Brandon Routh.

Now comes Latino Review, exploding a story that they claim to have been sitting on "for weeks and weeks" out of deference to sources at DC Comics. "Kelvin knew about Brandon not being the new Superman for weeks and weeks now, but made a promise to the DC people that he wouldn't break the story. Variety has now confirmed what we've secretly known for a while and Brandon Routh will be replaced in the stand-alone sequel by whomever is cast as Superman in the upcoming Justice League of America movie." Funny, since Variety doesn't say that at all -- this is clearly LR's attempt at a 'whoops, I thought it was safe to leak that info since Variety reported.' Anyway, if LR's source is legit the move on Warner and DC's part does make sense -- Routh didn't connect with audiences, for whatever reason, and in the age of instant reboots there are no second chances.

Warner Bros. really needs to get on the ball. That new trailer for The Dark Knight, which arrived yesterday attached to prints of I Am Legend and which we told you about earlier, has now leaked all over the place in a fourth-rate bootleg. I guess that's how the studio wants people to see it -- from the vantage point of a camcorder hidden in a guy's jacket. Come on, Warners, what are you thinking? Anyway, I have to say I'm not terribly impressed by this trailer. First of all, there's no great Joker moment like we would expect -- he appears to just be a typical knife-wielding thug with a bit of flair. Also, there are no show-stopping lines to report. I remember enjoying Michael Caine's speech from an earlier teaser trailer, about how Batman's aggressive actions 'pushed the mob into the arms of a man they didn't fully understand' but that's absent from this full-length trailer. In fact, it's mostly full of action beats.

I wasn't over-the-moon about Batman Begins and I don't really expect to be about The Dark Knight, either. Christopher Nolan is a fantastic director, but dialogue isn't his best-foot forward and The Joker is a character who demands a great writer. By the time I actually heard him say "Why so Serious?" in this trailer -- the line we've already seen all over the marketing a hundred times, I started to get a sinking feeling that that's the best we're going to get. But who knows, maybe I'm wrong, and they'll probably get my $11 bucks to find out, which is all that really matters, right?

Update -- Check here on Sunday, where we've been told the trailer will appear.

At the press junket for Atonement in Manhattan on Tuesday, one brave soul piped up during the roundtables to ask Keira Knightley if she was or was not interested in returning for a fourth Pirates of the Caribbean film. You may remember that the third one ended on that rather ambiguous note, but then sort of doubled-back with a pretty definitive, boxed-into-a-corner end-credit teaser. Knightley seemed to be ready for this question and had a very definitive answer. She quickly responded, with a tone of sadness and seriousness in her voice, "I can't imagine doing another one. That was an amazing experience, really was, totally extraordinary, but I think three for me is probably enough." This was probably to be expected. The Pirates series is subject to the same industry realities as the X-Men series -- the more money those movies make, the bigger the paychecks the cast members are going to demand for future installments. I think you can almost certainly say goodbye to Elizabeth Swann and Will Turner.

Regarding her other projects, Knightley reported that she has completed her work on The Duchess, as well as The Edge of Love, opposite Sienna Miller and Cillian Murphy. As far as future work, she had nothing to report on that front. Another interesting note: although Knightley showed up bright-eyed and bushy-tailed for today's junket along with her co-star James McAvoy, director Joe Wright was a no-show despite being in Manhattan as recently as last night. Joe, are you sick of us press people already?

Comingsoon.net has made what seems like a perfectly reasonable assumption to me: that the first trailer for Indiana Jones and the Kingdom of the Crystal Skull -- I'll never like that title -- may debut during the Super Bowl on February 3rd. Paramount has already declared that the trailer will arrive in February, but it was assumed in some quarters that the premiere would be attached to Paramount's biggest February release, The Spiderwick Chronicles. But really, is that a big enough event? The trailer would be a far bigger deal than the movie it's attached to. Putting the Indy 4 trailer up during the Super Bowl makes infinitely more sense to me, and I can't imagine the marketing department at Paramount isn't thinking the same thing. Additionally, CS also reports that the first trailer for Star Trek XI will most likely play before Cloverfield in January. And The Dark Knight is on schedule to debut its new teaser in front of I Am Legend on December 14.

In other Indy 4 news, fans of Ray Winstone may want to see the film if just to say farewell -- the actor appears to be so exhausted by filming that epic and his other recent projects that he's now actively considering retirement. "I've achieved it [career success] and now I'm finished," he's gone on record as saying. "I'm going to let me girls [his kids] get on with it and they can look after me. No more -- seriously. That's it." Winstone's role in Indy 4 is as Mac, a sidekick character that will presumably pick up the slack of not having Denholm Elliott be part of the script. Indiana Jones and the Kingdom of Crystal Skull -- nope, still don't like it -- is scheduled to hit theaters on Memorial Day.

You guys are growing up so fast, I hardly recognize you anymore!

-- Clark W. Griswold (Chevy Chase)

Before the Griswolds head out on yet another vacation, Clark speaks these words to his children, a sly (for this movie, anyway) jab at the fact that the Griswold kids have been played by four different sets of actors in four different films. He might as well have been speaking for the series itself. Watching this movie again for the first time since its theatrical release, I hardly recognize Vegas Vacation as a Vacation film. If European Vacation was a disappointment, Vegas Vacation is a crying shame -- a sad, laughless cash-in devoid of wit, charm, and signs that anyone is doing anything more than grabbing a paycheck. It's the kind of bad that casts a negative light on the good Vacation films that came before. In short, it sucks.

I still remember the day I went to see Vegas Vacation. At this time I had seen the trilogy (particularly the first and third entries) countless times, but Vegas would be the first I saw in a theater. I am not ashamed to say I was excited. Within about five minutes, I was slumped in my seat and was checking my watch. Why do the makers of movie franchises do this? If you've got a beloved property on your hands, why not put a little care into making each installment work? Just a little! It's not like they didn't have time; Vegas Vacation was released eight years after Christmas. Why sign off on such a lazy, unfunny script?

As evidenced by our Resurrecting the Champ insert caption entries last week, 99 percent of which included a swear word or some variation of "motherf***ing," all it takes is a photo of Samuel L. Jackson to turn even the most docile blue-haired granny into an f-bomb-dropping badass. Without further motherf***ing ado, here are this week's gloriously foul-mouthed winners:

1. "Hehe, well sh**. Maybe I should've said no to Snakes on a Plane. Hindsight. Got a quarter?"
-- Curt

2. "Ah man, I can't wait to wipe my ass with this."
-- Aaron Lopez

3. "What!! Half off at SuperCuts!!?? Out-Mother-F&%!ing-Standing!!!"
-- Shanec

See full image and all captions

This week, we bring you a photo of a mulletted Dan Fogler and a purple-robe-clad Christopher Walken from the upcoming Ping-Pong comedy-epic Balls of Fury. So let the male genitalia puns commence and hit us (not in the Balls, please) with your best caption. Winners will receive Balls of Fury underwear briefs, T-shirt, Ping-Pong paddle and a pack of balls -- just in case, you know, you don't have any of your own.

Read the official rules for this contest

The hills are alive with the sound of Griswold! This s**t's been around for a very long time!

-- Clark W. Griswold (Chevy Chase)

I'm reviewing all the films in the Vacation series over the next couple weeks, and in preparation I've been re-watching each of the movies. I thought I'd be able to save myself some time and skip National Lampoon's European Vacation, as I just saw it again a couple of months ago. Then I took a seat at the computer and realized I couldn't remember a damn thing about the film. I saw it a few times growing up, I saw it very recently, and yet nothing was sticking out in my mind. European Vacation is that kind of movie -- not terrible necessarily, just instantly and powerfully forgettable.

The movie would seem to have everything going for it. Sure, Harold Ramis was out as director, but was replaced by the great Amy Heckerling (whom I recently saw at an Elvis Costello concert, which earns her unlimited cool points even without the movie career). Heckerling was hot off the excellent Fast Times as Ridgemont High and the cult favorite Johnny Dangerously, and seemed a perfect fit for the material. John Hughes returned to flesh out the story and co-write the script. Chevy Chase and Beverly D'Angelo were reprising their classic roles.

So why is European Vacation so completely underwhelming? I intended to start each Vacation entry with a memorable line from the film, and it took me forever to pick a decent one for European. Where is Hughes' sparkling, endlessly quotable dialogue?

Note: Summer is coming to a close, and I don't have the budget to do much traveling. So I decided to take some Vacation time with the Griswolds instead. All this week and next, I'll be reviewing the Vacation movies, one of the most loved (and uneven) comedy franchises in modern film.

I think you're all f**ked in the head. We're ten hours from the f**king fun park and you want to bail out? Well I'll tell you something. This is no longer a vacation. It's a quest. It's a quest for fun. I'm gonna have fun and you're gonna have fun. We're all gonna have so much f**king fun we'll need plastic surgery to remove our goddamn smiles! You'll be whistling 'Zip-A-Dee Doo-Dah' out of you're a**holes! I gotta be crazy! I'm on a pilgrimage to see a moose. Praise Marty Moose! Holy S**t!

-- Clark W. Griswold (Chevy Chase)

Clark Griswold is my father circa 1988. The glasses. The Izod shirt. The too-short shorts. The unrelenting and misguided enthusiasm for all things family. The barely concealed rage. It's all there. What makes National Lampoon's Vacation work so well, all these years later, is that everyone thinks Clark is based on his or her father. Some of the funniest comedy comes from recognition, and this movie is almost like watching home movies from my youth. Except for the dead aunt on the roof of the car, but we'll get to that in a moment.

They assembled a real dream team for this movie, three giants of comedy at their primes. Behind the camera, you've got Harold Ramis, fresh off his directorial debut (Caddyshack -- not a bad start!). He clearly came to play here, and I'd imagine he had something to do with keeping Chevy Chase's tendency to overact in check. The script was written and based on a short story (click here to read it!) by John Hughes, unquestionably the finest film comedy writer of the 1980s. Disagree with me? Take a look at this list of Hughes scripts produced from 1983 to 1990: Mr. Mom, Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty in Pink, Ferris Bueller's Day Off, Some Kind of Wonderful, Planes Trains and Automobiles, She's Having A Baby, Uncle Buck, Christmas Vacation, and Home Alone. The man was a god.

James Bond -- when played by Sean Connery, Pierce Brosnan and now Daniel Craig (and a bit less so when played by Roger Moore, Timothy Dalton and George Lazenby) -- has long been the gold stanard by which all other cinematic spies have been judged. He's smooth, aloof, quick-witted and charming. Guys want to be like him and women with names like Pussy Galore want to sleep with him. But these days, 007 has some serious competition from a more reserved, grittier and -- dare we say -- more likeable amnesiac spy named Jason Bourne (Matt Damon).

When The Bourne Identity came along in 2002, it pretty much reinvented the action-spy genre, placing its hero, Jason Bourne, squarely in the real world (where things like Bond's invisible car do not exist) and dealing with the unheard of (in the Bond world, at least) issues of moral accountability, character metamorphosis and even vulnerability. Clearly influenced by his neophyte rival, a new Bond was born in 2006's Casino Royale, with Daniel Craig stepping into the tux of a more down-to-earth, relatable and gadget-free 007. Even so, the gap between these two men remains enormous.

From the cars they drive to the villains they battle to the way they fight to the women they bed, Moviefone compares the two most badass spies ever to grace a movie screen in a Jason Bourne vs. James Bond gallery. Check it out and then tell us: Who do you think is the more super spy?

Remaking a film, whether it's a classic or not, can be a tricky thing: The source material needs to be solid, there has to be an audience that will want to see the film, and -- most importantly -- there has to be a legitimate reason for an update. Regarding the final point, this "legitimate reason" cannot be making a crap-ton of money by fast-tracking a dud. It should be, as in the case of 2005's King Kong, that an update adds something to the original, such as kick-ass special effects that weren't available back in the '70s (the last time Kong graced screens), or simply makes it more accessible to modern audiences. Alas, too few movies heed this final point, and that is why so many remakes, from Planet of the Apes to Psycho, fall short of expectations.

Moviefone has ranked the 25 Worst Movie Remakes of all time, beginning with the moderately misguided and finishing up with the flagrantly bad and unnecessary. Check out the list, then share your picks for the worst remakes. Did we miss any stinkers? Did we include any that, in your opinion, are brilliant reimaginings? And, lastly, do you think Helena Bonham Carter still looks hot as an ape?

We're adding a new feature on Cinematical Indie: The (Mostly) Indie Film Calendar. Each week, we'll give you a round-up of what's going on in indie film (and sometimes just cool film news and screenings) in cities near you. If you know of cool stuff happening that's related to film -- a local fest, a series of classic restored films, lectures, workshops, open calls for casting of an indie film -- send your tips to me at kim(at)cinematical(dot)com and we'll add them to the calendar.

Here are this week's happenings in film from New York to LA and points in between ...

New York City: This week at Film Forum, you can check out Live-In Maid (showing through July 31), Woody Allen's Manhattan in its last week, and Fritz Lang's Metropolis in a spandy-new 35mm print of the newly restored version! (Oooh, ahhh....). Special events at Film Forum this week include filmmaker Jorge Gaggaro at the 8:10 screening of Live-In Maid tonight AND (get this on your calendar's pronto, director at the 8PM screenings of his Iraq War doc, No End in Sight, next Friday and Saturday, July 27 and 28. I saw No End in Sight at Sundance, and attended a pretty impressive panel discussion of the film as well. It rocks -- don't miss it.

Over at the Walter Reade Theater, you serious film buffs might want to check out the celebration of Woodfall Film Productions, with Vanessa and Lynn Redgrave and Michael Sheen introducing some of the screenings. Check out the full program, it's a really nice lineup. Also at the Walter Reade, tonight at 7PM they have a screening of the restored print of silent film Way Down East. Sunday at 4:30 is an event you won't want to miss: Film Comment Selects Presents has a Norman Mailer event; tix include the 4:30PM screening of Tough Guys Don't Dance, a conversation with Mailer AND a complimentary pass to the 8PM screening of Maidstone -- what a great way to fill up a Sunday!

Los Angeles: Outfest -- the Los Angeles Gay and Lesbian Film Festival -- is still going on through July 23. There are still lots of films, panels and events going on through the weekend, so check out the schedule on the fest's official website to see what's happening.

Elsewhere in LA, American Cinematheque has the Mods and Rockers Film Fest going on. Friday and Saturday, the Egyptian has an "in-person salute to rock-doc pioneer filmmaker D.A. Pennebaker," with the West Coast premiere of his documentary 65 Revisited, with outtakes from his 1965 classic Don't Look Back. The full schedule can be found right here. Over at the Aero, there's a four-day engagement of David Lynch's Inland Empire, with discussions with "special guests."

Seattle: This weekend at Northwest Film Forum, they're screening June and July, winner of last year's Local Sightings Film Festival. Also, NWFF's Search and Rescue program continues the venue's exploration of 16mm film with a screening of 1964's Nothing But a Man. Coming up July 25 and 26, you can catch a screening of Jacques Tati's 1953 film, Mr. Hulot's holiday. Check out their website for complete schedule of events.

The Seattle International Film Festival may be long over, but the SIFF group is still bringing Seattleites great films all summer long with their SIFF Cinema Summer Series. This weekend through August 2, they're showing Apachatpong Weerasethakul's Syndromes and a Century, Mahamat-Saleh Haroun's Daratt, Bahman Ghobadi's Half Moon, and Tsai Ming-Liang's I Don't Want to Sleep Alone.

Also this weekend in Seattle: On Saturday, July 21 at 2PM, The Film School's Speaker Series, by Warren Etheredge, will host Sandra Nettelbeck, whose film Mostly Martha has been remade into the upcoming No Reservations starring Catherine Zeta-Jones, Aaron Eckhart and Abigail Breslin. Nettlebeck will discuss her film the remake, and what's different between the two. Upcoming on July 28, TFS brings Oscar-nommed director Alex Gibney (Enron: The Smartest Guys in the Room) into town to sneak-preview his latest doc, Taxi to the Dark Side, which played at the Tribeca Film Festival. Taxi is about torture practices used by the United States in Iraq, Afghanistan and Guantanamo Bay, told through the story of an innocent taxi driver who was tortured and killed in 2002. Gibney's a sharp guy and a solid filmmaker -- that one's a must-see for you Seattle film buffs. Tix for both available at Etheredge's website, The Warren Report.


Austin: This weekend at The Alamo Drafthouse at Lake Creek brings you a special midnight screening of one of my fave Hitchcock films, Rear Window, Daft Punk's Electroma, and a screening for the kids (or those of us who haven't quite grown up yet, Dark Crystal. At the South Lamar location Master Pancake Does Conan -- the Barbarian, natch -- on Wednesday. Plus: The Village location has Rocky Horror Saturday night at 11:PM, so break out your corsets and fishnet stockings! Also, the Village and Lamar locations will have Simpson's Feasts, and the Village location

Dallas: Coming up in Dallas, the Dallas Video Fest runs July 31- August 5. The fest is surprisingly affordable -- all-day passes range from $10 weeknights to $25 weekends. Check out the full schedule and start making your plans now.

Oklahoma City: This weekend at the Oklahoma CIty Museum of Art: Parker Posey in Broken English and Oklahoma! Upcoming: Away from Her, Summercamp!, Once and Ten Canoes. Also, a panel discussion on images of Oklahoma in the movies. Full schedule is right here.

Want your city covered? Send your film news and links to me at kim(at)cinematical(dot)com ...