So you wanna rake in the indie cred in Austin at next year's South by Southwest Festival? You have a skootch more than a week left to submit proposals for panels and/or rate the ones that have already been submitted for SXSW. But lucky for you, the SXSW Panel Picker is at your fingertips any time of the day or night. This cool new tool allows for everyone to have a say in what panels get okay'd for the festival.

According to the official site, "SXSW thrives on the creative intersection that takes place when great minds get together, and we feel the Panel Picker truly celebrates that. We believe that the real experts at SXSW are the people who bring the event to life - you, the thousands of people who attend every year. You know what you want to see, so this is your chance to help make that happen."

Previous panels include "The Incredible Shrinking (Expanding?) Film Critic Profession," which featured Cinematical's very own Scott Weinberg, "From Script to Screen," a Stanley Kubrick discussion, and much more. Get on your horse and head over 'cause the Panel Picker closes its doors on July 10th.

You can also stay up to date on all the latest SXSW-related film news and reviews over at the official blog. They gave Erik Davis' earlier post on the real girl behind SXSW's indie hit 500 Days of Summer a nice shout out, too. Even if you don't get your very own panel, you should do yourself a favor and hit up the festival since it's filled to the gills with enough media to burn your retinas and pop your eardrums. Plus, you can eat some BBQ with the peeps you Tweet at. Hey, just sayin'.

Indie Roundup reviews the past week of news from the independent film community and provides a peek at what's coming soon.

Opening. Two films opened yesterday which couldn't have less in common: Agnès Varda's essay film The Beaches of Agnès and Nia Vardalos' I Hate Valentine's Day. Tomorrow comes Anne Fontaine's comedy The Girl From Monaco.

Deals. Xavier Dolan's family drama I Killed My Mother, Kenneth Branagh's The Magic Flute, and Asghar Farhadi's drama About Elly have all been acquired by Here Films, the company formerly known as Regent Releasing. All three are headed for theaters next year. [indieWIRE]

Online Viewing. The 4th of July weekend inevitably brings thoughts of America as a land of immigrants, and that's the topic of Home, which debuts on Amazon VOD this week, featuring interviews with Mike Myers, Alfred Molina, and Liam Neeson. Also somewhat topical: if Michael Jackson had an impact on race in pop music, what about African-American musicians playing rock 'n' roll exclusively? Raymond Gayle's Electric Purgatory examines the issue (at iTunes). If you're looking for love, you have something in common with two women in the comedy/drama Arranged (also at iTunes.)

Box Office. Kathryn Bigelow's lacerating bomb squad thriller The Hurt Locker earned a per-screen average ($36,338) that bested even the giant robots, albeit on only four screens. Woody Allen's Whatever Works expanded to 35 screens and grossed $10,280 per outing. The combination of star Michelle Pfeiffer and director Stephen Frears could stir up only a tepid $5,338 per-screen at 76 locations for Cheri, which is less than the average for Duncan Jones' Moon in its third week on 21 screens. [Box Office Mojo.]

After the jump: David Hudson's The Daily takes a permanent (?) vacation, portending the end of the world as we know it.

Bet you didn't know there's a Shockwave game for Year One. That's because Shockwave, well, kinda sucks. I can't even get the game to play on my Mac; I tried Safari and Firefox, so if anyone would like to give it a whirl and report back let me know. So far all I know is that you try and herd ox without making them nervous and run away.

Granted, Sony's Year One is not exactly a property ripe for video game adaptation, and its target audience is much broader than movies whose studios put in a lot of effort at viral buzz, but if it's that the case, why bother even making one at all? It's shoddy and looks like the marketing department already knew Year One (which I liked, by the way) would already be poorly reviewed and have a weak box office showing despite the big names attached.

On the other hand, The Dark Knight, which was distributed by Warner Bros., built up a ton of online buzz from its viral websites like WhySoSerious.com, Friends of Harvey Dent, and others with help from the marketing company 42 Entertainment. The Dark Knight would have been very successful even without these sites, which took a lot of effort and money to put together. Same with the campaign for Terminator Salvation and its Skynet Research site. It's a no-brainer summer blockbuster, destined to rake in the bucks despite the many complaints from critics and fans.

With so many disappointments this summer, it's easy to forget that we'll finally get to see Harry Potter and the Half Blood Prince, and that we'll finally start hearing more about the final chapter as it makes its way to the big screen.

But of course, the biggest question about Harry Potter and the Deathly Hallows still centers on where they'll make the split between Film 1 and Film 2. Director David Yates dropped a hint to the LA Times, and if you haven't read the book, here be spoilers:

"We're here in the forest, we've just finished the scene where Harry, Hermione and Ron are captured by the Snatchers after being chased through the woods. The Snatchers are brutal and scary but they aren't the most intelligent of creatures.They're trying to figure out exactly who it is they've caught ... Things can change when you edit, of course, but the idea now is that it will be not long after the sequence that we are filming here today. That's what we're experimenting with. We've had three or four different ideas about where to cut off the seventh film. Traditionally, the movies have ended with a death or a bereavement, some sort of passage or arrival. This time we think we will end with more a cliffhanger. Again, though, that's the thought as of this moment."

I haven't read Deathly Hallows since it came out (and oh, I still remember pulling an all nighter at ComicCon for fear someone would spoil it) , so I had to go back and check this part out. The book is chock full of cliffhangers, but ending it here would definitely give Part 1 a terrifying conclusion, the kind I'm still disappointed Peter Jackson didn't go with in The Two Towers.

Enchanted director Kevin Lima is on board to direct a new version of Mary Shelley's classic horror novel Frankenstein. Frank has a helluva twist, though; the scientist cooking up cadavers is an "antisocial" young woman in med school who decides to "create" her own friends. And... it's a romantic comedy. Can you say undead boyfriend?!

According to Variety, the writer and one of the executive producers of this potentially awesome project is Karey Kirkpatrick, the writer of The Spiderwick Chronicles, Charlotte's Web, The Hitchhiker's Guide to the Galaxy, and James and the Giant Peach, among others. He also directed the Eddie Murphy vehicle Imagine That,

Both Lima and Kirkpatrick have a bunch of projects that are in development, although Lima's have more of a family-friendly vibe (The Spook's Apprentice, Candy Land, The Incredible Mr. Limpet, and Thumb). Kirkpatrick's optioned projects include writing, directing, and producing Captain Abdul's Pirate School, about a girl who is sent to pirate school and plans a mutiny against their evil school principal slash lead pirate, as well as the more adult-minded The Best a Man Can Get, which he is also writing, producing and directing.

Based on distributor Fox 2000's track record, Frank could be focused more on the rom-com than the potential for blood and a cool chick lead, but maybe indie production company Radar Pictures (the peeps behind Richard Kelley's The Box, and remakes of The Amityville Horror and The Texas Chainsaw Massacre, among a number of other projects) will make sure that we get a dash of gore with our giggles and girly goodness.

I'm voting for Kat Dennings as our protagonist -- she's smart, snarky, and sweet, and she plays the perfect "outsider." Who would you cast?

(Thanks to Zach for noting that Kirkpatrick is a man. Oops.)

With the economy hurting, what better time to start up a new film studio? DF Indie Studios officially announced itself to the world yesterday, though news broke first via our friends at indieWIRE the other night. The company "is uniting veteran producers with sales and distribution experts." DF Indie Studios says it will "fully finance as many as a dozen films per year, each at a budget of up to $10 million. Significantly, the movies will also have guaranteed U.S. theatrical distribution through the company."

Notable names such as veteran producer Ted Hope (Adventureland, In the Bedroom) and distribution ace Ira Deutchman are involved with the company, as well as Scott Free, the production company of Ridley Scott and his brother Tony Scott (The Taking of Pelham 1 2 3). Company executives told indieWIRE that "the first five films will go into production this fall and hit the festival circuit next year." They also expressed the rather incredible hope that they will create between 10,000 and 15,000 (!!!) film jobs over the next five years. DF Indie Studios is still raising money for their venture, and is about halfway to their $100 million goal, according to the Associated Press.

What type of films will the company be backing? The press release mentions "commercially viable" twice and says they are partnering with "established producers with successful box office track records." Film journalist / critic Anthony Kaufman points to the Variety story, "which reported the company's aims are to make films such as 'the Saw franchise, Juno, Good Night, and Good Luck and Little Miss Sunshine.'"

There will be crunch this fall. "Crunch" as in furiously intense action from Thailand. "Crunch" as in Tony Jaa, madder than ever. "Crunch" as in Ong Bak 2, directed by and starring Jaa, now set to enliven the autumn theatrical release schedule. And if you can't wait until October 23, well, you can sit at home and watch the movie on September 25, according to Wise Kwai's Thai Film Journal.

Magnolia Pictures acquired rights to the film for its genre label Magnet in February and it was showcased at South by Southwest the following month. As I wrote at the time, Ong Bak 2 "features numerous insanely awesome fight scenes. Jaa explodes in every direction, his arms and legs delivering lethal blows as he lays waste to a variety of opponents, employing all manner of martial arts, straight fighting skills, and amazing dexterity with a variety of bladed weapons." To be fair, the pace is sometimes lumbering, and narrative clarity is not a strong suit, but those fight scenes are something glorious to behold.

Wise Kwai points to the official U.S. web site, which is only a placeholder right now, and to Mark Pollard's comments at Kung Fu Cinema about Magnolia's plan to make the film available on cable VOD, Amazon, and Xbox Live one month before the theatrical release. That's in line with how Magnolia has marketed and released other recent releases, and, in view of the modest returns for the original Ong Bak: The Thai Warrior a few years ago, makes good business sense. Meanwhile, Ong Bak 3, which will hopefully clear up some of the loose threads from OB2, is scheduled for release in Thailand in December.

On a recent visit to the Chicago-based set of the A Nightmare on Elm Street remake, producers Brad Fuller and Andrew Form gave us online types a good hour with which to poke and prod about that film and countless other projects in the works. The Elm St. stuff will have to wait until the time is right, but at the moment, you're just a hop, skip and jump away from finding out where Platinum Dunes currently stands with a Friday the 13th sequel, their present involvement in reported remakes of The Birds and Rosemary's Baby, and how exactly the little-seen Horsemen ended up slipping through the cracks last spring...

Read the full interview at Horror Squad!

Before we look back at the past week, let's peak at what's opening this weekend: Francis Ford Coppola's family drama Tetro; Duncan Jones' sci-fi trip Moon; Daryl Wein's AIDS activist doc Sex Positive; Tommy Wirkola's Nazi zombie flick Dead Snow; Robert Kenner's appetizing (maybe) doc Food, Inc.; and Chai Vasarhelyi's music / tolerance plea Youssou Ndour: I Bring What I Love (poster and more info after the jump).

Box Office. Opening in four theaters, Sam Mendes' Away We Go scored a smashing $32,603 per-screen average last weekend, according to Box Office Mojo. The road trip comedy / drama, starring John Krasinski and Maya Rudolph as anxious, expectant parents searching for a place to raise their family, far outpaced other debuting indies, which had, on their own terms, decent returns: Seraphine ($6,640 per-screen at four theaters), Unmistaken Child ($6,293, one screen), and 24 City ($6,082, one screen). Our critic William Goss feels that Away We Go is "easily among the very best films that the year has offered so far." I was less impressed; the real test will come as it expands over the next couple of weeks.

Deals. Our friends at indieWIRE have details on the recent acquisitions of Laura Gabbert and Justin Schein's doc No Impact Man, due September 4 from Oscilloscope; Jonathan Parker's comedy (Untitled), due September 18 from Samuel Goldwyn Films; and Kenneth Bi's The Drummer, due this fall from Film Movement.

Online Viewing Options. New selections at iTunes Movie Store include Bob Odenkirk's comedy Melvin Goes to Dinner; Scott Smith's dysfunctional 60s family drama Falling Angels, with Miranda Richardson; and Mike Akel's mockumentary Chalk, which school teachers have assured me is very funny (it drove me this former bad student nuts).

After the jump: CineVegas, the "Mile High Mutiny," and a sweet-looking poster.

Mike Dougherty's horror anthology film Trick 'r Treat has been bumped back by Warner Bros. for going on two years now, since its premiere at Austin's Butt-Numb-a-Thon back in December of 2007. We wrote up a piece last December wondering where it was, and we shant need to write one up this December, because not only is TrT scheduled for a home video release in October, but it's working up to a roadshow run starting in July.

According to Bloody Disgusting, the film will hit several genre festivals -- from FanTasia to Fantastic Fest (squee!) -- and hopes to be booked in other theaters along the way. Those who know of any ideal venues to show the film have been encouraged to contact Dougherty himself through either his Twitter account or his MySpace page.

Now, I know several colleagues who loved or at least liked it, though one cautions not to get our hopes up too high. I'm all for keeping expectations in check, but if anything, I'm slightly more for supporting apparently good and genuinely original horror offerings. It's like my equivalent of asking you to prevent forest fires, only instead of forest fires, we're talking Prom Night sequels. Ya dig?

(Trailer's after the jump...)