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Just a few weeks ago, Peter Hall brought you the news that Dwight Schultz, aka the original Howlin' Mad Murdock, had earned a cameo in Joe Carnahan's remake of The A-Team. Obviously, you can't invite Schultz and not invite the rest of the surviving team, and it seems Faceman will also be getting some facetime. According to Dirk Benedict Central, Dirk Benedict will also be appearing in the film in an unspecified role.

Remember when this kind of thing stayed secret? I'm not losing sleep over the production of The A-Team or anything, but it makes me nostalgic for the days down the long haul and into history back when you didn't know anything about secret cameos until you were in the dark theater. Then you could nudge whoever you were with and say "Oh my gosh! That's Dirk Benedict! Ha ha!" If you had your head bitten off when you started blabbing about the Zombieland cameo, this is the reason why. People like surprise cameos!

So, who do you think Benedict will be? Bradley Cooper's father? Someone helpful they meet along the way? One of the commanding officers coordinating the task force that's hunting them down? Or will Schultz, Benedict and Mr. T (you know he'll be the next one confirmed) all have a scene together where they hand over keys to the iconic van?

This week Richard Linklater's Me and Orson Welles is finally making its way to the big screen. It's not a big buzzed-about film, but it is, indeed, one worthy of your time. The movie offers a peek at Efron's possible future (which the abysmal 17 Again completely failed to do), a delightful look into creating art in the '30s, and it recreates the nuances of theater on the big screen. And hey, it's a Linklater film, which seems to be painfully rare these days.

But none of those reasons are why I urge you to see it. It all rests on the shoulders of actor Christian McKay, who plays Orson Welles. I missed the film at TIFF, and spent the next year listening to raves over McKay's performance before I finally got the chance to make it to a screening. Even with the rave reviews and raised expectations, it was quite easy to get mesmerized by McKay, who not only bears an uncanny resemblance to the iconic actor and filmmaker, but also adeptly embodies the man's larger-than-life ways.

To get the full experience, you must be familiar with Welles, and if you're not, well, good lord, now's the time to change that. What follows are some of Welles' essential work, as well as glimpses into the man's real life so you can see just how good McKay's performance is.

The first reviews for Peter Jackson's The Lovely Bones are beginning to pour in, and, naturally (for a popular, fan-friendly director like Jackson), there are the raves (Harry Knowles from AICN) and the pans (Todd McCarthy from Variety). Just posted this evening over at Variety, McCarthy's review is perhaps the hardest one to swallow. Essentially his biggest problem with the movie were the effects, claiming Jackson uses them way too much (and too often) for a film (and story) that doesn't really require them. He calls it "show-offy" and says the film "rates as a significant artistic disappointment." It's an unfortunate review for a film that was a shoe-in (and still may be, especially for Stanley Tucci) for multiple Oscar nods on almost everyone's list.

Some other quotes (no spoilers):

-- "This is an incredibly lovely film. From the visuals to the performances to the story-telling and film work... it all goes to capture a very powerful story in a way that makes you want to hug those close to you." -- Harry Knowles, AICN

-- "It's not that The Lovely Bones is a bad movie, exactly. It is handsomely made and strongly acted, while its woozy, lullaby ambience recalls Jackson's work on the brilliant Heavenly Creatures, before he set forth on his epic voyage through The Lord of the Rings." -- Xan Brooks, Guardian

-- "Peter Jackson's eagerly awaited film version of Alice Sebold's bestselling novel is sometimes exquisitely realised, sometimes frustratingly uneven. ... While The Lovely Bones is as dark as it gets thematically, it will still be an event movie for the adult audience." -- Mike Goodridge, Screen Daily

-- This was never going to be an easy story to film. Using the same characters and many events, Jackson and his team tell a fundamentally different story. It's one that is not without its tension, humor and compelling details. But it's also a simpler, more button-pushing tale that misses the joy and heartbreak of the original." -- Kirk Honeycutt, The Hollywood Reporter

The Lovely Bones hits theaters on December 11th.

Gotta love the book tour Stephen King is currently on to promote Under the Dome. First he tells a crowd in Maryland that he has written a draft of the television screenplay for Cell, that HBO wants to do an Under the Dome miniseries, and that he is working on new Talisman and The Dark Tower novels. And now an even bigger bombshell comes: he's got a book plan for a sequel to The Shining brewing in the back of his always-working mind.

But before getting to the news, I'd like to address the means by which it leaked out, which is equally interesting. While in Toronto, King followed up a 15-minute reading from Under the Dome with an hour long Q&A in a packed theater. The interviewer? David Cronenberg. Thinking about that taking place makes my heart hurt. My favorite director interviewing my favorite writer? What kind of cruel world hides such an event from me?

Fortunately the books portion of the Torontoist was there to cover the event and they've got all the details surrounding The Shining sequel Cronenberg and King talked about, tentatively titled Doctor Sleep. King explained that he had spent the last summer wondering what Danny Torrance would be like as a grown up and how the emotional scars carved into his psyche by the Overlook Hotel would have impacted the path of his otherwise happy life. The author charts the basic premise thusly:

Read the rest over at Horror Squad.

Everyone loves the brooding, over-bearing look of Darth Vader; clad all in black, draped in a cape, wearing an almost featureless mask. We're given no glimpse of any speck of his flesh, forcing us to speculate what kind of person the embodiment of evil actually looks like, and when we're finally given a look at the man under the mask in Return of the Jedi, we understand the reason for his full-body suit: Vader is horribly disfigured, his body severely withered for reasons yet to be revealed.

However, protecting his crippled frame is not the real reason behind Darth Vader's helmet and breathing mask. The following may be common knowledge for die hard Star Wars trivia masters, but for those of us casually in love with the original trilogy, it should come as an amusing bit of insight into the design of one of cinemas most iconic characters. SCI-FI Wire recently interviewed Ralph McQuarrie, George Lucas' conceptual designer responsible for the look of much of what ended up in Star Wars, including Vader's appearance, and the reason he gave is more mundane than menacing:

An extended trailer for the next Family Guy Star Wars special has arrived online over at Apple and iTunes (watch it after the jump). Titled Something, Something, Something Dark Side, this time the animated sitcom is aiming their lightsabers at Empire Strikes Back. Featuring large camel robots who hurt their knees, annoying high-pitched princesses and a giant chicken dressed as Boba Fett, fans should expect the same sorta hilarious shtick that came out of Family Guy's first Star Wars spoof, Blue Harvest (though some feel the Robot Chicken Star Wars episodes one-upped them considerably, but that's a topic for a different day).

Because of the popularity of the first special, 20th Century Fox is pimping out the follow-up pretty hard. It's due to hit DVD and Blu-ray on December 22nd, and I imagine they'll actually air it on television at some point in 2010. A spoof of Return of the Jedi, titled We Have A Bad Feeling About This, is also being planned.

The official description for Something, Something, Something Dark Side goes something like this: "Holy ship! The Family Guy empire strikes back with another hilarious parody of your favorite sci-fi saga! May the laughs be with you as (Chris) Skywalker joins forces with (Peter) Solo and Princess (Lois) Leia to battle (Stewie) Vader and his Imperial minions. A host of new characters comes along for the wild ride, including Mort Goldman as Lando Calrissian, Chris's boss Carl as Yoda, and the Giant Chicken as the nefarious Boba Fett. It's an outrageous, out-of-this-world experience you'll "saber" for light-years to come!"

Watch both trailers for Something, Something, Something Dark Side after the jump.

What major movie production features an interracial friendship that defies all the expected stereotypes? Hint: it's not the one starring Sandra Bullock.

On its own merits, The Blind Side is a heartwarming story of the modern South, in which a rich white 40-something woman (Bullock) befriends a poor black teenager (Quenton Aaron). Their relationship develops to the point that the young man feels a part of her family. I agree with our reviewer, Jette Kernion, who described it as "a very good example of a sports-related family film, with quality performances and writing." She also notes the "seeming visual message that the African-American community can't or won't care for their own, and that the saviors here are rich white conservatives." The film is based on a non-fiction account, but it still makes me wonder why, exactly, we needed another film depicting that particular racial dynamic -- beyond providing a great starring role for Bullock and the aforementioned heartwarming elements.

As finely-edged as a new razor blade, Ninja Assassin establishes itself as a contender for "CGI Fu Movie of the Decade" in its very first sequence, gleefully slicing off body parts with the abandon of an extreme gore flick that would satisfy most horror hounds. It rocks back and forth between ponderous philosophical pontifications and riotously preposterous action scenes like a ticking time bomb, exploding in geysers of blood at regular intervals. Our reviewer William Goss was much less taken with the film than I am -- I think it's fair to say he hated it -- so bear in mind that your mileage may vary wildly. However, I feel confident in saying that Ninja Assassin presents a rarely seen relationship: a friendship between two people that makes no mention of their racial differences.

In the past couple days some news reports have surfaced that would make it seem as if Robert Zemeckis has begun the casting process for his Yellow Submarine remake, which is apparently going under the name of The Fab Four Project or The Untitled Fab Four Project for reasons we do not know (perhaps to either mask the real production or perhaps they've decided to go in a different direction and are between titles). Jim Hill noted that they're holding open auditions at a Beatles convention in Stamford, Connecticut this weekend, and The Sun already claims actor Stephen Graham has landed the part of Ringo in the mo-capped feature (though I'd take that piece of news with a huge grain of salt).

It also looks like Zemeckis is considering a wide range of folks for the role of John Lennon, including one of our favorite up-and-coming actors, Gabe Sunday. I first saw Sunday in the buzzed-about indie flick My Suicide and instantly knew he was heading in the right direction. The guy isn't just another wannabee actor -- he's a true artist and collaborator who likes to be involved in the entire filmmaking process. Not only is he working on a narrative film about the great Daniel Johnston, but he apparently threw together a John Lennon audition tape for Zemeckis that's pretty spot-on in terms of becoming the young, experimental Lennon who pals around with buddies and enjoys impromptu jam sessions. No doubt Sunday's usual cronies are behind the look and feel of this audition tape since it squarely belongs in their wheelhouse, and I hate to say it but I'd rather see more of this than whatever colorful mo-capped version Zemeckis has planned.

Either way I truly hope he gives Sunday a shot. The guy is ready to explode onto the scene; he just needs more opportunities to do just that. Watch the video after the jump. Good luck Gabe!

Read Part One of this interview right here

When Judd Apatow's latest film, Funny People, was announced, many critics and audiences hailed it – even before they saw it – not only as an evolution of the filmmaker's style, but a return to the kind of drama-laced comedy that flourished in the 1980s and early '90s thanks to folks like Cameron Crowe and James L. Brooks. When it was released, the film more than satisfied those expectations, offering an unflinching but frequently hilarious portrait of an A-list comedian rediscovering himself, but there seemed to be a sense that audiences knew themselves less well than they felt like they knew the film's main character, resulting in a less enthusiastic response than perhaps even they expected.

The film arrives on Blu-ray this week, offering what is indisputably the most complete and comprehensive look behind the scenes at a comedy ever produced, and offers audiences a second chance to check out Apatow's most meaningful and resonant work to date. Cinematical got a chance to catch up with the writer-director via telephone to discuss the contents of the expansive, 2-Disc Collector's Edition; in the second part of our chat, Apatow talks about precisely what made the movie so personal for him, and offers a few insights about its place in his growing body of work, and its potential influence on his future films (including a Harry Potter movie, maybe?).

Cinematical: With or without talking to you at the time of the film's release, people seemed to assume that this was a very personal film, I think because it was more serious than your previous work. Was it really personal, and if so in what way or why?

I had a whole other topic prepared for this week's Girls on Film, but to follow that plan would ignore the large, sparkling elephant in the room. I'm sorry, but I've got to write about New Moon. I'd been planning to hit a screening sometime mid-week -- a nice and early matinee that would free me from the headaches of super-excited fans under 18 (which goes for any cinematic fandom for the pre-to-teen lot ... Harry Potter? egads...).

But then I read Eugene's aside in his weekly Box Office report: "Along these lines, I wonder if the egregious objectification of men in New Moon's marketing campaign is a victory for feminism. I vote yes." While I don't equate my feminism with show-me-yours-too ideology, it brings up a really good point that really hadn't occurred to me before: Twilight isn't just a rampant fangirl phenomenon of pent up adolescent and homemaker lust. It's a female skin flick for the younger set, both in marketing and execution.

And no one seems to know how to react to that.