Daniel Craig may have his own limited edition popsicle, but he's having a tough time choosing his next film role. After branching away from Bond with Defiance (a lot less 007 than most people give it credit for) and Munich, his next effort at ducking typecasting might be Jim Sheridan's Dream House. Might.

According to The Hollywood Reporter, Craig is in early talks to star in Sheridan's psychological thriller, which would steer him clear of "Whatever, all he plays are vigilantes" talk. House centers on a family man who moves the wife and kids to an idyllic small town, and obviously the perfect house of the film's title. But you know what happens when you move to those dreamy small towns and those perfect Victorian houses ... they're haunted! Our hapless hero finds himself contending with the former occupants of the house, who hang around thanks to being brutally murdered.

As Craig decides whether Sheridan and Dream House is a proper departure from 007 territory, he'll be appearing on Broadway in A Steady Rain and is rumored to be interested in Kevin MacDonald's Eagle of the Ninth. (Would he be replacing Channing Tatum?) Should any one of these ventures fail, perhaps Craig will sigh, shrug, and just play Steve McQueen already.

Clockwise from upper left: Revolutionary Road, Defiance, He's Just Not That Into You, The Graduate, Anaconda, Fletch.

Revolutionary Road
Leonardo DiCaprio re-teamed with Kate Winslet, Michael Sheen Shannon * in a blistering supporting role, Sam Mendes examining suburbia, an adaptation of a classic American novel by Richard Yates; what could possibly go wrong? "In truth, it's both relentlessly grim and nearly pointless," wrote Jeffrey M. Anderson. "The only thing it does really well is create a feeling of suffocation." Also on Blu-ray. My choice: Rent it.

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He's Just Not That Into You
Ben Affleck, Jennifer Aniston, Drew Barrymore, Jennifer Connelly, Bradley Cooper and Scarlet Johansson star in a movie that will rot your brain. Put more kindly by William Goss: "This film feels more like a one night stand than anything else: you'll enjoy taking it home overnight, but when tomorrow comes, it's less a matter of calling it as merely recalling it." Also on Blu-ray. My choice: Skip it.

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Defiance
Daniel Craig drinks martinis protects fellow Jews from the Nazis in Edward Zwick's drama, based on a true story. "An uneasy mix of action and suspense with meaningful themes, of emotion and adrenaline," opined James Rocchi. "You sincerely hope it sends people to the truth even as it fails as fiction." Also on Blu-ray. My choice: Rent it.

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After the jump: Indies on DVD, more Blu-ray picks, and a "legendary" Collector's Corner!

Steven Spielberg's The Adventues of Tintin: Secret of the Unicorn started filming with so little fanfare that I've nearly forgotten all about it ... but I doubt you diehard Herge fans have. Now you'll have a date to circle on the calender as Variety reports that Tintin will be hitting theaters on December 23, 2011, pitting it against Warner Bros Happy Feet 2 and Disney / PIXAR's The Bear and the Bow. (It may be two years away, but you can offer your box office predictions now if you like!)

At least, that's when it'll be hitting theaters on this side of the pond. Paramount and Sony plan to release the film in Europe first, as befitting its heritage and fanbase. There's no specific dates set, but they're eying a fall dates of late October and early November depending on what part of Europe you're in. If you're very wealthy, you could hop on a plane and catch it a few weeks early.

Variety also reports that the film will be released in 3-D. I guess that's a sign I've lost track of this project as I wasn't aware that was ever in doubt, but apparently the two studios have been debating that the past few months. Now after viewing dailies, they've decided that 3-D "would offer the best rendition" for the film ... and frankly the recent ginormous 3-D successes like Monsters Vs. Aliens probably helped convince them of that.

So, there you are, Tintin fans: December 23, 2011 in 3-D. Excited?

When I opened up a couple of Lionsgate DVDs last month, I noticed that the cover portion of each plastic case had a sizable hole in it, shaped like a recycling symbol. It seemed like a nice gesture, though I'm not entirely sure how much good that much plastic would do in its absence (nor how much more I would personally recycle at the mere sight of a reminder).

Then, a friend of mine opened up his Blu-ray copy of Fox/MGM's Quantum of Solace to discover similar holes. "Environmental friendly?," he noted. "Maybe. Far less sturdy and protective? Yes." (Or maybe he was just describing Bond in the movie, ZING!)

What do you guys and girls think about this recurring development? Do you believe it's a worthwhile effort on behalf of the studios to reduce waste, or would you rather shell out your hard-earned dollar for your movies to be kept in a proper and complete case?

A lot of the time, watching a movie, we recoil or start at something in it: That's fake, we say, and dismiss the whole film. On many occasions, that impulse is correct because the film is fake, but on rare occasions, we feel that sensation of dislocated wrongness not because the film is fake but because our world is; we can't wrap our heads around the facts and ugly truths of what we see, can't comprehend how such things are possible, and recoil from them out of refusal to believe, not because they aren't believable. This is one of the challenges Defiance, the newest drama from Edward Zwick (Glory, Blood Diamond) faces as it tells the true story of the Bielski brothers, three Belorussian Jews and outlaw petty criminals who, during World War II's pogroms and purges, protected hundreds of Jews from the Nazis, some surviving and others actively fighting back.

We witness Tuvia Bielski (Daniel Craig) make the decision to kill his horse so it can be eaten, and we cannot imagine such hunger. We watch Zus Bielski (Liev Schrieber) fight alongside Russians who hate him to stop Germans who hate him, and we cannot imagine such a grim choice. We watch Asael Bielski (Jamie Bell) fall in love, or a quick quip between two supporting characters, and we cannot imagine love, or laughter, in such a place. But there must have been such hunger; there must have been such anger; there must have been laughter, and love, in the years of exile. It's hard to imagine, but that doesn't mean it's not true.

What does Daniel Craig get right in his new outing as James Bond? What does Quantum of Solace get wrong? Can Marc Forster really direct action? Is Olga Kurylenko really the "hottest Bond girl ever?" Which directors could and should take on Bond's 23rd outing? And above and beyond all these topics, what does this week's guest Kevin Kelly, of Joystiq and Spout, think needs to happen to save Bond from both his corporate overlords and world-destroying villains? You can listen to the podcast here at Cinematical by clicking below:



As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.

Even as the franchise began to shed staples with 2006's Casino Royale and tomorrow's Quantum of Solace, the James Bond series is still known for several keystones across twenty other films: girls, gadgets, guns, martinis, silhouettes of female figures thrusting about during the credits, and so on. Some would say that these were the traditions that helped lead James Bond down the path that would end in 2002's Die Another Day, which some would say made them want to take a top hat to their own throats. (Me? I didn't hate it.)

Among these recurring touches were the last lines, often cheeky turns of phrase that seemed to suggest that everything was going to be just fine between Commander Bond and that chick who we'd never see or hear about ever again. So, out of twenty-one films, I humbly offer up my picks for the seven best of the bunch. I'll leave you to find out if Quantum ends more along the lines of Royale's "The name's Bond... James Bond", or with something a bit sexier...

After the historic election of Barack Obama as the 44th president of the United States, naturally everyone's mind turned to the next logical step: Does this mean a black man could play James Bond, too?

At least that's where current Bond Daniel Craig's mind went. At a Rome press conference for Quantum of Solace, which opens in the U.S. on Friday, Craig said, "After Barack Obama's victory I think we might have reached the moment for a [black]* 007. I think the role could easily be played by a black actor, because the character created by Ian Fleming in the '50s has undergone a great deal of evolution and continues to be updated."

He also joked that the idea of a black 007 might have Fleming spinning in his grave. Fleming was considered by many to be racist -- just Google the words Ian Fleming racist to find plenty of people making that assertion -- and the U.K. Telegraph observes that his Bond novels "were laced with the racial prejudices of his era."

Surely there's nothing specific about the Bond character that couldn't just as easily apply to a black actor. There have been a few black Bond Girls romanced by white Bonds. Race doesn't generally play a part in the stories, at least not in the last several films. Then again, some people freaked out when Daniel Craig was cast solely because he was blond (if you can imagine the heresy). Would a complete makeover totally ruin it for the purists? What do you think? And if they did go with a black 007, who should play him?

*The word he actually used was "coloured," which apparently isn't quite as offensive and outdated in Europe as it is in America, as none of the news outlets covering the press conference expressed surprise over Craig's usage of it. He obviously didn't mean it with racist intent, anyway, so let's not dwell on it, mmkay?

What's happening in Hollywood? Does no one have a day planner? Can nobody stick to a schedule? Pushing a film's release date back a week or two isn't a big deal, but when you move it to an entirely different calendar year, that changes everything -- especially its Oscar chances.

As we've already mentioned, rumors are swirling that the Weinsteins' The Road won't be done in time for its November release, and maybe not for December, either. Now we have three more titles on the move. Jeffrey Wells at Hollywood Elsewhere is reporting that the Weinsteins' Hurricane Season, an Inspiring Sports Drama® about a high school basketball team composed of displaced Katrina survivors, is "not ready" for its planned Christmas Day release and is being pushed back to March. And at Paramount, two Oscar hopefuls, Defiance and The Soloist, are being bumped to 2009, too, according to Variety.

The Soloist move is the one that should raise the most eyebrows. A true story starring Jamie Foxx and Robert Downey Jr. (pictured), it has all the hallmarks of a feel-good Oscar contender, and that's how Paramount and DreamWorks (which produced it) were positioning it. But now it's being moved from Thanksgiving to March, which is basically Paramount's way of saying they don't have much confidence in its Oscar potential after all. At the very least, it means they think its chances of making a lot of money (which are higher in March than in the crowded holiday season) are greater than its chances of winning awards. Which might actually be a very smart financial move, so good for them.

So last week, the official theme song for Quantum of Solace -- y'know, that new James Bond flick -- was formally released online, and above is the music video for Jack White and Alicia Keys' "Another Way to Die." This managed to slip past us, probably because we were all still drooling over Erik's chance to comandeer an Aston friggin' Martin (no, no, 'jealous' isn't quite the word...), and now that it's out, opinions are becoming considerably divided.

On his personal blog, Bond devotee David Cornelius of eFilmCritic.com said "it's, um, not good. Really, really not good. The Coke commercial focused on the catchy hook, which was good. But the rest of the song? Not good. We're talking "Die Another Day" not good. Argh."

Devindra Hardawar of /Film feels a little less harsh about it: "It's not a terrible song (see Madonna's for Die Another Day for a good example of that), but it certainly doesn't feel like anything new for the series. It seems as if it tries to do way too much, and the song ends up feeling overstuffed in the process."

Left in the apparent, admitted minority is Devin Faraci over at CHUD.com, who likes the song, if not the video.

As for me, I dig the thing, though it's stuck stubbornly in my head over the past couple of days, but I rarely think that's a bad thing. What say you guys? Is "Another Way to Die" worthy of our favorite double-0 agent? Or would you rather they had just adopted "Something of Boris" instead?