As we've started to get our fair share of trailers for the coming prestige projects -- Frost/Nixon, The Soloist, Zack and Miri Make a Porno -- I was curious as to why we'd yet to get one for Clint Eastwood's period drama, Changeling, if it were set to open by the end of next month. Particularly after Kim's Cannes review, I wanted to get a proper glimpse beyond a brief clip...

Perhaps hearing my prayers or just tiring of my complaints, Yahoo! Movies saw fit to post the trailer (watch it after the jump as well), in which a young mother (Angelina Jolie) in 1928 Los Angeles finds herself standing up against a corrupt police department when her missing son is returned, or rather replaced by a different child altogether.

Even if the same piece of score hadn't been used in both of their trailers, I'd still have felt a need to draw a correlation between this and last October's missing-kids-and-corrupt-cops powerhouse, Gone Baby Gone (of course, it doesn't hurt that Amy Ryan shows up in both of them). From Eastwood's end comes a particular tinge of Mystic River, and so far as I'm concerned, all of those signs point to something substantial waiting for us when Changeling opens in limited release on October 31.

From a magical private school to the heart of the Iraq war is quite a jump. Luckily, Jason Isaacs is just the kind of versatile actor to pull it off. (If you don't believe me, take a look at the man's IMDB page -- talk about well-rounded!) Variety reports that Isaacs (aka Lucius Malfoy of Potter fame) has signed to star in Paul Greengrass' military drama, Green Zone. Isaacs will play an American officer in Iraq in the days following the fall of Saddam Hussein. Matt Damon stars as an investigator searching for weapons of mass destruction, Amy Ryan (Gone Baby Gone) plays as a foreign correspondent from the NYT, and Greg Kinnear makes an appearance as a CIA agent.

Zone is based on the non-fiction book by Rajiv Chandrasekaran, titled Imperial Life in the Emerald City: Inside Baghdad's Green Zone. For those of us who maybe don't watch the nightly news as much as we should, here is a little reminder: "The Green Zone, (the common name for the International Zone of Iraq), is a 10 km² (4 mile²) area in central Baghdad that was the center of the Coalition Provisional Authority and remains the center of the international presence in the city." Chandrasekaran's book highlighted the "absurdities, incompetence, and bureaucratic failings which prevented a timely transfer of power to the Iraqis and bred the growing insurgency" -- you know, just your usual fun bedtime reading.

Greengrass wrote the original script for the military thriller, but eventually L.A. Confidential scribe Brian Helgeland was brought aboard to help smooth out some of the rough edges. Green Zone started filming in Spain last month, and will then move to Morocco (the two locations have served as stand-ins for Iraq, since the production could obviously not work in the actual area). The film has yet to secure a release date, but is scheduled to arrive in theaters sometime in 2009.

I get very excited about the upturns some actors and actresses' careers take following awards season, especially when those performers end up Oscar winners. I always enjoyed reading the post-Oscar write-ups on "What's Next for ____?", though it's less of a thrill nowadays because I typically already know what is in their pipeline. For example, thanks to Variety, I now know that Amy Ryan will be co-starring in Paul Greengrass' "untitled Iraq war thriller". She joins the movie, along with Greg Kinnear, which already starred Matt Damon (who has worked with Greengrass on two Bourne films) and which reportedly began filming in Spain yesterday. While Kinnear and Damon will both play CIA agents involved in the search for Weapons of Mass Destruction, Ryan has been cast as a New York Times correspondent investigating the WMD investigation.

A front-runner for the Academy Award for Best Supporting Actress (for Gone Baby Gone), Ryan has already had one heck of a year (she also appeared in Before the Devil Knows You're Dead and Dan in Real Life). In fact, I'm sure I'm not the only one to admit I'd never heard of her until 2007. But she may still not be a household name, and that should surely change following her expected win (she's also the best bet for the Golden Globe this Sunday). The supporting actress category is sometimes a bit of a joke, as it was throughout most of the 1990s (starting with Whoopi and ending with Angelina, with a Mira in the middle), but Ryan is hopefully going to be one of the few actresses that shows us how much she deserves the accolades by continuing to take respectable roles. In addition to Greengrass' film, Ryan will be co-starring in Clint Eastwood's The Changeling, which also stars Angelina (whose "What's Next ... " in 1999 included Gone in 60 Seconds and Lara Croft: Tomb Raider). By the way, for those not keeping track, after making The Changeling, Ryan will have worked with four of the ten 1990s supporting actress Oscar winners (Marisa Tomei is in Before the Devil; Juliette Binoche and Dianne Wiest are both in Dan). Perhaps Greengrass can find a part in his new film for Anna Paquin?

I was a little hard on the International Press Academy last year, but they made some ridiculous decisions when handing out their Satellite Awards. Still, at least they came off as being different than every other year-end awards giver by picking winners like Joseph Cross and X-Men: The Last Stand (best comedic actor and best editing, respectively). Those are at least some interesting, unpredictable picks, right? This year, I feel the need to be harder on the organization, because it's gone totally predictable in honoring No Country for Old Men, Juno, Sicko, American Gangster, Ratatouille, Diablo Cody and Christopher Hampton, among others. The actors they honored -- Marion Cotillard, Viggo Mortensen, Ellen Page, Ryan Gosling, Tom Wilkinson/Casey Affleck (tied) and Amy Ryan -- aren't all the most obvious choices, but they aren't shocking, either. Couldn't they have at least gone with nominee Clive Owen or his nominated "comedy or musical" Shoot 'Em Up (!?!?!?), or something?

Not that the winners aren't deserving, but what good is yet another awards ceremony if it's not going to distinguish itself from the Golden Globes, which are the Satellite's unrecognized yet unmistakable "baby daddy". Yeah, the Hollywood Foreign Press will likely go with some other winners, but they won't seem that different. Again, I do salute the IPA for having a documentary category, though it wouldn't have hurt to give The King of Kong its one possible prestigious(?) award -- not that it was actually a better film than fellow nominee No End in Sight. Also, it's always enjoyable to see what the IPA picks for best DVDs (The Prestige for overall; Borat and Masters of Horror Season 1 (tied) for extras; Ratatouille for youth-oriented; Ken Burns' The War for documentary; The Graduate 40th Anniversary Edition for classic). For the rest of the nominees and winners, head over to Variety.

The San Francisco Film Critics Awards have been announced, and they're especially exciting for us here at Cinematical. Why? Because three of our writers are in the SFFC! Our very own James Rocchi, Jeffrey M. Anderson, and Richard Von Busack are all part of the San Francisco critic "scene." San Fran made some interesting picks, several outside of the expected Oscar nominees. So what were their choices? For Best Foreign Film, they selected Julian Schnabel's The Diving Bell and the Butterfly (which I am watching when I finish this post). For Best Documentary, they selected No End in Sight (which didn't blow me away, but was certainly well done). Best Adapted Screenplay went to Sarah Polley for Away From Her (great script, one of the most kick-in-the-stomach depressing movies I've seen lately). And Best Original Screenplay went to Tamara Jenkins for The Savages.

Amy Ryan was named Best Supporting Actress for her brilliant portrayal of a highly difficult character in Gone Baby Gone. Ryan's co-star in that film, Casey Affleck, was named Best Supporting Actor for his outstanding work in The Assassination of Jesse James by the Coward Robert Ford. Best Actress was Julie Christie for Away From Her and Best Actor was George Clooney in Michael Clayton -- two choices I approve of though I disagree with them. Joel and Ethan Coen took Best Director(s) honors for their latest masterpiece, No Country for Old Men. And -- drumroll please -- the Best Picture Award went to Jesse James. A surprising pick perhaps, but it was an absolutely fantastic film, and hopefully the award encourages more people to see it. The SFFC gave a special citation to an indie called Colma: The Musical, "a homegrown song-and-dance extravaganza about the paradoxical drudgery and surreality of life in a city where the dead outnumber the living one thousand to one." That old story again? See the list for yourself here -- it's a San Francisco treat!

Most people consider the National Board of Review irrelevant, and yet they continue to write about the organization's annual film honors. Like the Oscars, though, it doesn't matter if the NBR is irrelevant or not. It's been around for nearly a century now, and it's been a significant part of awards season for many decades. Maybe the organization is made up of paid-entry film buffs rather than critics or "experts" but at the end of the day its members are simply movie lovers like you and me. And sometimes those members even champion and endorse movies that deserve that extra notice.

Sure, the 2007 mentions by the NBR seem so exhaustive that I almost can't even think of a movie that didn't get an award. Also, many of them seem like obvious and predictable decisions (doesn't this just mean the movies were noteworthy enough to receive the awards anyway?). Some of the winners, though, are pretty satisfying. Tim Burton probably won't win an Oscar for best director, so it's good to see him honored here. Also, I wouldn't have expected Lars and the Real Girl to get an original screenplay mention from anywhere. Nor did I expect for The Bucket List to land on any top ten lists. Mostly, I'm delighted to see Casey Affleck recognized for his acting.

Check out all the awards after the jump.

Fall 2007 is shaping up to be the season of illogical movies. First there was the much-praised Gone Baby Gone, which has a third act twist that's logically crazy and impossible in practicality, and now there's Before the Devil Knows You're Dead, a film from the aging non-master Sidney Lumet that twists its narrative into a pointless and annoying timeline-pretzel and in doing so drains every ounce of energy and motivation from the piece, only to arrive at a Greek tragedy climax that has a plot hole so large you could drive a Hummer through it. (Don't worry, I won't spoil it, but I'll just say this -- cops?) That both both films contain performances by Amy Ryan may be their saving grace -- Ryan has a lock on Best Supporting Actress this year that's as tight as Ben Foster's lock on Best Supporting Actor, but that's not enough to push Before the Devil over the line. Nor is its high-grade cast, that includes Philip Seymour Hoffman and Ethan Hawke. Even Marisa Tomei's frequently naked breasts don't get it done.

The plot: two brothers scheme to knock over their parents' jewelry store. Mom and pop will get the insurance money, they'll get the loot, and everyone's rent gets paid. Sounds pretty simple, only -- pause for effect -- something goes wrong. What goes wrong is Rosemary Harris, who re-confirms here what she proved in the Spiderman films -- she can't act worth a lick. Harris plays the boys' mother, who unexpectedly stops the thief they send in to rob her with a handgun and also gets herself shot in the process. 'Big emotion' is not something that should ever be required of Harris, and I felt a tinge of relief when she was dispatched early on in the film -- the less screen time she takes up the better. The boys' father, played by the excellent Albert Finney, sets out to make it his mission in life to find the "guy who did this." And so it begins ... or ends ... or something. The timeline in this film is so herky-jerky that for all I know, my interpretation of its events could be completely wrong.

As the end credits roll on Dan in Real Life, I imagine most people will have roughly the same reaction -- a smile and a shrug. You won't be angry at yourself for watching it, but you'll be hard pressed to remember the thing in two weeks. It's a relentlessly average movie, packed full of "nice" moments but lacking a single great one.

Steve Carell stars as Dan, a widowed advice columnist trying to be a good father to his three daughters, well played by Alison Pill, Marlene Lawston, and a very funny Brittany Robertson. A widowed man raising his three daughters is also the premise of the old sitcom Full House, and the comparison isn't far off. These daughters are fleshed out a bit more than the Olsen twins, but the relationship beats feel the same -- forced, cutesy, a little tired.

Dan and the girls go to visit their extended family in a lakeside Rhode Island cottage. Dan takes a trip to the local bookstore, and in a very Woody Allen-esque scene, he meets and develops a crush on a woman named Marie (Juliette Binoche). There's a "falling-for-each-other" montage that doesn't really convince, Dan gets her number, and heads home to brag about his new "hottie" and meet the girlfriend of his brother (Dane Cook). Surprise surprise -- his hottie and the girlfriend are one and the same -- Marie. Cue the laugh track.

As Helene McCready -- the mother of the missing child whose disappearance drives Ben Affleck's Gone Baby Gone -- Amy Ryan delivers one of the most praised supporting performances of the year (see either my review or Erik's for further discussion of the film). She's also in Sidney Lumet's Before the Devil Knows You're Dead and even has a bit part in Dan in Real Life; it's a busy Fall for Ryan, and one some Oscar-watchers are thinking will pay off for her. Ryan spoke with Cinematical about the challenges of her part, working with Ben Affleck, her work in Before the Devil Knows You're Dead and even her role on HBO's acclaimed The Wire. You can download the entire interview right here.