Dear... uh, well... Woody Allen, I suppose:

So here you are, with Whatever Works, which is something like your 44th feature at the age of 73. That's really something, but I'm sure you already know that. As if it wasn't enough that we can credit you with the likes of Annie Hall and The Purple Rose of Cairo... But I digress, although maybe that's the best strategy at the moment, because I can't exactly talk about Whatever Works just yet. It doesn't open in my neck of the woods until tomorrow today, and well, they refused to screen it for press.

Actually, they kinda did screen it, and, apparently, it's all kinda your fault.

Duncan Jones cut his teeth on the sets of Labyrinth and The Hunger, but for his directorial debut, he opted for something that didn't star his dad (I'll let you guys and girls mull over the common thread).

Rather, Moon is a showcase for star Sam Rockwell, who gives what is surely one of the year's more uniquely layered performances. As the film opens today in NY and LA before rolling out in the weeks to come, Jones spoke with Cinematical about shooting sci-fi on a small budget, releasing an indie in a season of blockbusters, and cracking his skull out of pure giddiness for a movie.

Which one, you ask? We'll tell you after the jump...

In this day and age, why can't someone be both? Jessica Biel's dramatic turn as a stripper in Timothy Linh Bui's Powder Blue, which just hit DVD and Blu-ray, has been competing for attention with the theatrical release of Stephen Elliott's Easy Virtue, which opened in New York and Los Angeles before expanding this weekend. Throw in the tempest in a teacup about her interview with Allure Magazine, in which the actress was quoted as complaining that her beauty was causing her to miss out on more serious roles that instead went to Natalie Portman or Scarlett Johansson, and it may be hard to know what to think of the actress.

I don't know if the Allure quotes are accurate are not, taken out of context or completely made up, but watching her in Easy Virtue made me forget all the career stuff and gossip and get caught up with the characters and the story. That's not something I expected from a period piece based on a play by Noël Coward. Biel plays Larita, an American race car driver from Detroit who marries the young, very British John Whittaker (Ben Barnes) after a whirlwind romance. John takes her home to meet his very proper mother (Kristin Scott Thomas), his remote yet welcoming father (Colin Firth), and his two flighty sisters (Kimberly Nixon and Katherine Parkinson).

It wouldn't be fair to say that Biel steals this very funny film (with a more serious streak that's gradually revealed). For one thing, Firth is exquisitely good; for another, Elliot's direction is quite engaging. Still, Biel is something of a minor marvel in the role.

The Cannes Film Festival drew to a close on Sunday evening with the presentation of the Palme d'Or to Michael Haneke's The White Ribbon. Filmed in black and white, it's "a two-and-a-half hour parable of political and social ideas set entirely in a north German village in 1913 and 1914," says Dave Calhoun at Time Out London. Haneke "solidly resists answering the 'what's it all about?' question and makes you work hard to make sense of what you're seeing." David Hudson at IFC's The Daily has gathered the reviews, some of which endeavor to answer the "What's it all about?" question.

As is often the case, the nine-member jury passed out awards to as many films as possible. The Grand Prix (or runner-up) went to Jacques Audiard's A Prophet; Special Jury Prize to Alain Resnais for Wild Grass; and Best Director to Brillante Mendoza for Kinatay. Christoph Walz won Best Actor for his performance in Quentin Tarantino's Inglourious Basterds and Charlotte Gainsbourg won Best Actress for Lars von Trier's controversial Antichrist. The complete list of winners can be easily viewed at indieWIRE. The festival's official site has a great set of award ceremony photos.

Here's a roundup of Cannes films we can expect to see in coming months. Corrections and updates will be appreciated.

CANNES TITLES WITH U.S. DISTRIBUTION

• Antichrist (IFC)
• A Prophet (Sony Pictures Classics)
• Bright Star (Bob Berney and Bill Polhad)
• Coco Chanel & Igor Stravinsky (Sony Pictures Classics)
• Drag Me to Hell (Universal)
• Humpday (Magnolia Pictures)
• I Love You Phillip Morris (Consolidated Pictures Group)
• Inglourious Basterds (Weinstein Co.)
• Looking For Eric (IFC)
• Precious (Lionsgate)
• Taking Woodstock (Focus Features)
• Tales From the Golden Age (IFC)
• Thirst (Focus Features)
• Up (Disney Pixar)
• The White Ribbon (Sony Pictures Classics)

You can access all our Cannes coverage via this handy link.

I just came across the new poster for Whatever Works on IMP Awards (check it by clicking the image below), and beyond the too-perfect Larry David pose, I'm struck by the utter lack of Woody Allen on the thing. Beyond the billing block and maybe an especially sharp sense of font, how would anyone know that this was the latest film from the guy who made Annie Hall and Manhattan?

It was the same thing with Vicky Cristina Barcelona, and I'm wondering if potentially interested people would find themselves turned off upon finding out just whose movie they've been lured into. It's the same sense of un-branding (non-branding? anti-branding?) that kept most passersby from realizing that Zack and Miri Make a Porno was a Kevin Smith joint, and really, if you're already past that title, is his presence in the trailers and posters going to keep you away?

If anything, might the name recognition lure a couple of more people to either film (not that Larry David fans probably aren't already fans of Woody Allen, and not that Kevin Smith films probably already know which new movie is his)? Have you ever been sold on a movie until you got a glimpse of the name at the helm? When? Where? Why?

Having not attended Sundance, last month's SXSW Film Festival was my first chance to catch up with Duncan Jones' acclaimed sci-fi drama, Moon, and I'm happy to say that my expectations were well-met, with Sam Rockwell giving what is bound to be one of the more uniquely layered performances of the year.* (You can read James Rocchi's review here.)

Well, it looks like the guys over at IGN got their hands on the trailer, which we've embedded after the jump and which carefully embraces the intrigue of the film's central conceit. Jones himself told us that the development in question isn't exactly a spoiler in his mind, but don't worry, we're not about to give it up here. All in all, it's a smart sell, and one accurately representative of the movie. AICN, meanwhile, happens to have one snazzy poster on display. Mere coincidence? We may never know...

Co-starring Kevin Spacey (sort of), Moon gets a NY/LA opening on June 12th before rolling out to other markets, where it'll should prove a welcome respite to the comparatively mindless summer fare.

*Trust me, I'm not just saying that.

Cinematical has received this exclusive poster for Sugar, which marks Ryan Fleck and Anna Boden's long-awaited follow up to their hit indie Half Nelson. This time both Fleck and Boden share writing and directing duties on a film that follows a Dominican baseball star who's recruited to play minor league ball in the United States. Back when Sugar premiered at the Sundance Film Festival, Kim called it "insightful and compelling," saying "the baseball scenes are incredibly shot; in fact, the entire film is just gorgeous, like a painting brought to life." I've been itching to see Sugar ever since it was announced; like Half Nelson, I expect a gritty reality that doesn't show up on screen as often as it should. Boden and Fleck have a knack for scraping just below the surface, discovering topics that are either ignored or simply not executed correctly.

Click on the image below to view the entire poster, then head after the jump to check out the trailer. For more on the film, head over to its official website. Sugar arrives in theaters (in NY and LA) on April 3rd.

SXSW jumped their own gun last night by announcing their line-up of film titles for this year's festival in Austin, TX.

Right around the ides of March, we'll be treated to the world premieres of:

• Best Worst Movie (all about the cult surrounding Troll 2 and supposedly containing an appearance by none other than our own Scott Weinberg),
• South By staple Joe Swanberg's latest, Alexander the Last,
• Gerald Perry's For the Love of Movies: The Story of American Film Criticism (Scott's in this too? WTF?!),
• John Hamburg's bromantic comedy I Love You, Man,
• Gary Hustwit's new doc, Objectified (go queue up Helvetica already!),
• Jody Hill's Observe and Report (because we can't all love Paul Blart: Mall Cop),

...and much, much more! Personally, I'm also psyched to catch up with Sundance hits like Grace, Moon, We Live in Public, Humpday, and a couple of others -- not to mention the U.S. premiere of The Hurt Locker and a special anniversary screening of Office Space (yes, Austinites, another one). All I'd otherwise beg for is 500 Days of Summer, but who am I to look a gift fest in the mouth?

SXSW '09 runs from March 13-21, and you can expect plenty of coverage around these parts.

(Warning: This one goes up to eleven...)

1. Moon -- Most were admittedly intrigued by the prospect of Sam Rockwell alone and yet potentially not on a lunar station going into the fest, and this seemed to be the first film to live up to its promise as a modest yet straight-up sci-fi endeavor (that just happened to have a Kevin Spacey-voiced robot, and just tell me you wouldn't want one of those waking you up and telling you to pay it forward all the friggin' time).

2. 500 Days of Summer -- I'd liked the vague stuff I'd been hearing about this one going into the fest as well -- namely, "Zooey Deschanel, Zooey Deschanel, Zooey Deschanel" -- and I certainly liked the teaser trailer that made its way out just hours before the film's formal premiere. Does it look like Fox Searchlight's particular brand of indie hipster quirk that's just begging to get too popular for its own good by about Labor Day? Sure, but if it's as adorable as it seems, that's a chance I'm willing to take, Zooey.

One of the audience and sales success stories at this year's Sundance Film Festival wound up on my screening schedule late in the week through the cruel editorial equations of film festival journalism: An Education became a film I should see because I should see it. There had been praise for Nick Hornby's screenplay adaptation of Lynn Barber's memoir, a coming-of-age-story set in 1961 London; there were raves for Carey Mulligan's performance in the lead role; there was the news that Sony Pictures Classics had picked up the North American distribution rights for $3 million. Late in the festival, buzz and business both assured, An Education became a film to see if only to see if the hum and thrum of the week prior was in fact right.

An Education opens with the sight of young girls balancing books atop their heads to improve their posture, learning ballroom dancing, and taking home economics; since we know that the '60s are coming, and the young women we see don't quite, yet, the vision is like seeing a dinosaur, back straight and eyes front, walk blithely into a tar pit. Jenny (Carey Mulligan) is part of this world, but looking past it -- she's applying to Oxford, making sure her application looks good on paper. Told by her father (Alfred Molina) that she shouldn't be practicing her cello when she should be hitting the books, she's confused: "I thought we agreed cello was my interest or hobby. ..."