Here's one of my dirty little secrets: I love lists and I keep track of my year's ten best movies all year long. Most other critics hastily assemble their lists at the last second, which is partly why so many December movies dominate; critics can't remember what they've seen earlier in the year. My list shows that 2008 has had a pretty poor first half, but I do have some contenders for listhood. Two movies are currently competing for the top spot, though I need to see them both again to be sure. Hou Hsiao-hsien's Flight of the Red Balloon (6 screens) is one; it has a lovely, laid-back, observant quality and feels less severe than some of Hou's other recent films. But I haven't yet decided if the film is a comedy or a tragedy. It all feels pretty light and insignificant, except for the saddest thing: no one seems to notice the red balloon of the title, drifting around Paris, unable to find a boy like Pascal to love it. The film also contains the year's most vibrant performance: Juliette Binoche playing a frenzied single mom working with a puppet troupe.

For an emerging filmmaker, the Sundance Film Festival provides a starting point for the life span of a feature-length work. There's a far greater sense of immediacy, however, for the filmmakers involved in the shorts program, where a wide variety of material tends to begin circulating the festival world before fading into complete obscurity. That's why the short films that screened yesterday as part of the third annual Sundance Institute at BAM (Brooklyn Academy of Music) signified the most important aspect of the two-week event: With few exceptions, the films on display received the kind of exposure that helped validate this frequently neglected format. While some of the titles are available on iTunes, many that were shown to a packed house finally got the long-delayed reception they deserved.

Animated efforts almost always offer the best ingredients in any shorts program, since it's here that you'll find a combination of inspired side projects from gainfully employed studio animators and the works of struggling independent artists. The latest program couldn't beat the sheer brilliance of cult animator Don Hertzfeldt's short Everything Will Be Ok in last year's showcase, but two particularly memorable films left distinct impressions this time around.

Vexille
After premiering at Cannes in 2007, Fumihiko Sori's Vexille traveled the world, got a limited US release in February, and has now, finally, arrived on DVD. Set in Japan during the year 2077, Vexille is a female agent sent to Tokyo to determine whether Japan is developing robotic technology that has been banned by the UN -- this after being dumped by the UN and lurking under a satellite cloaking device.

The flick is all sorts of pretty; it's got women as the two main heroes, and a score by Paul Oakenfold, which makes the whole deal even more tasty. Reviewing it from TIFF, Scott said the film has "the most eye-popping animation this side of Miyazaki." How can you beat that?

Well, you could beat that with a disc or two full of special features, but unfortunately, this is all we're getting for the time being. Just the movie. However, if you demand special features on your discs, and happen to have a region-free player, there IS a Region-3 2 DVD version with a Making of featurette, interview, CG images, and trailers.

Check out Scott's review | Buy the DVD

Among my favorite film books is Michael J. Weldon's two-volume "Psychotronic" film guide. The first was published in 1983 and the second in 1996 (Michael hopes to publish a third at some point). Unlike Leonard Maltin's annual book, Weldon doesn't update an existing guide; each new guide is an entirely new volume. If you want to read about Halloween, you need Vol. 1 and if you want to read about Halloween 4, you need Vol. 2. A "Psychotronic" movie can be fairly easy to define. It's basically any of the "lower" film genres, dealing with the more questionable elements of society: horror, sci-fi, bikers, strippers, superheroes, zombies, kung-fu, vampires, comic books, drugs, sex, action heroes, rock 'n' roll, midnight movies, monsters, witches, cults, serial killers, magic, time travel, robberies, heists, contract killers, gladiators, Spaghetti Westerns, mad scientists, murder mysteries, pimps, voyeurs, etc.

Now and then, an interview yields an unforgivably tantalizing piece of information -- and, while 9 times out of 10 these nuggets are pure, idle, meaningless crazy-talk, now and then they're just too good to ignore. So it is today, as Empire pulls a sidebar from their recent interview with Diary of the Dead director George A. Romero where he idly mentions that one of his dream projects is a stage adaptation of ... John W. Campbell's Who Goes There?, later filmed as The Thing from Another World. Later, of course, filmed as The Thing.

It turns out Romero's a huge fan of the 1951 iteration of the tale, citing it as a major influence: "It really worked, it really scared me." And that admiration isn't just academic; Romero notes, teasingly, that "I watched The Thing many, many times but there's a reason for that ... I keep trying to get hold of the rights and I'd love to do it as a stage play." Romero then goes on to offer his own take on how to make the live theatrical version a more visceral experience: "I'd love to freeze the whole audience ... first of all, we'd have to chill the whole theatre down to some sub-zero temperature."

Empire points out that in a universe that's already offered us Evil Dead: The Musical, a live play of The Thing doesn't seem like a stretch; I'd also add that Cronenberg's The Fly is also due to hit the boards in an operatic adaptation in July. In his interview with Cinematical, Romero mentioned that he's already working on following Diary of the Dead with a sequel -- and, since we're indulging in some crazy talk, which project would you rather see the director focus on: More zombies for moviegoers everywhere, or a (literally) chilling night of theater for the lucky denizens of one city?

Diary of the Dead, George A. Romero's first independent zombie film in over 20 years, follows a group of student filmmakers who, making a low-grade horror film in the woods, drive back to civilization ... only to find it isn't there anymore. We watch the film unfold as footage they shoot travelling through desolate and deadly buildings, neighborhoods, towns, cities -- coming to grips with the fact that the dead are walking and hungry and everything they knew is over. Shot outside of Toronto, where Romero now lives (but, as tradition demands, set near Pittsburgh), Diary of the Dead played both the Toronto and Sundance Film Festivals; Scott Weinberg's review from Toronto can be found here, while Jette Kernion's review is here.

Writer-director George A. Romero spoke with Cinematical about his zombie film legacy that stretches back to 1968's Night of the Living Dead, his concerns about the possibilities and perils of user-generated media, which Presidential candidate he thinks would have the best handle on attacking armies of the dead, and the undying popularity of the undead he created. " (If) I created anything ... it was the "neighborhood zombie" ... the guy with Nikes and a sweatshirt. ... Neighbors are scary, and when they're dead they're a bit scarier. But once you have that, it's idiomatic ... I half expect the zombies to show up on Sesame Street hanging out with The Count. ..."

Cinematical: I've read several notes and quotes from you saying that Diary of the Dead essentially felt like a new beginning.

George A. Romero: For me, it was a new beginning; I made four zombie films before this, and they sort of tracked, they were along a single storyline, even though they were 10 years or more apart, each of them. And they were just getting too big. The last one (George A. Romero's Land of the Dead) was a studio-supported film, which, you know, I turned around and looked at it: They let me make the film I wanted to make, I loved working with Dennis Hopper and Leguizamo and people like that, but I felt the film and I had sort of lost connection with the origin of the series, which was a little guerrilla movie that a bunch of amateurs made in Pittsburgh all those years ago. And I wanted to go back to ... I wanted to see if I had the chops and the stamina to make a little guerilla movie. I happened to have an idea that I wanted to do something ... all of my zombie films have had this kind of socio-political satire underneath them, and I've always used them as snapshots of the time in which they were made.

I got an idea that I wanted to do something about emerging media, with the mainstream losing its power and Joe Blow from Oshkosh taking over on the blogosphere. And it all sort of fell into place. And I thought 'Well, I can make a little film, do it pretty inexpensively, about students who are out shooting a student film when the sh*t hits the fan, when zombies sit up and start walking around.' I said 'We can go back to the very first night, and we can try to pretend ' -- even though that was 1968 and this is now --- 'that this is the same first night, when this phenomenon first begins to happen.'

If you're any kind of horror afficionado, you've probably either heard about or even read the script for George Romero's Diamond Dead -- it's one of those projects that's been around for so long no one even talks about it anymore. The film is a horror-comedy about a rock band called Diamond Dead whose members are all zombies and whose hot babe manager tries to use her media wiles to take them to the top despite their rather unappealing habits, like eating brains and stuff. It takes swipes at the media, Christian fundamentalists who hate the band, and various other Romero-style targets. In a forthcoming interview with Suicide Girls, Romero surprises by excitedly announcing to me that in the last week, Diamond Dead has raced back to the forefront of his upcoming projects slate. "I got a phone call two days ago, before I came here, from the producer saying 'We're back!'" he says, noting that he was more surprised than anyone because he worked for years on the project and "it looked dead." Since the financing has apparently just kicked in as this is going to press, no further details are available.

Romero also notes that he's very eager to get going on a sequel to his new film, Diary of the Dead, saying "I wish I could have gone further with it. If there is a possibility of a sequel, I'd actually love to do it, cause there's a hell of a lot more. I'd love to go further with that theme." At the same time, fans of Romero's previous and much larger film, 2005's Land of the Dead, should most certainly not expect a sequel to that any time soon. Romero expressed guarded admiration for that film, but called his experience with big-budget filmmaking "grueling" and said "it was just too hard." He also feels that Land "lost touch with its roots" and he has no idea how a sequel could even happen, if he were inclined to make one.

With apologies to Joan Jett for swiping her album title, this week's installment of Trailer Park is about the young folk in one way or another.

Prom Night
It seems like every time a remake is announced there's an angered outcry from the fans of the original. I didn't care much for 1980's Prom Night, and based on this trailer I don't see much to look forward to with this new version. Certain kinds of horror can work with a PG-13 rating, but a slasher film? I don't see it. The trailer gives us a group of irritatingly over privileged teens gathering for the prom. Suddenly the lights go out, people start screaming, and I lose interest. This one hits U.S. theaters on April 11. Here's Scott's take.

Descendents (Solos)
Over at upcominghorrormovies.com they're referring to this one as the first Chilean zombie movie and the first English-language film from director Jorge Olguin. You can't exactly tell from the trailer that there are zombies in this thing, but there's obviously a widespread infection in an urban area with soldiers summarily blowing away the victims of some kind of infection. The story is told from the perspective of a little girl who joins forces with other children to escape the city. It looks bleak and horrifying, just as a zombie film should. So far there's no U.S. distribution planned for this one.

Before I had ever attended the Sundance Film Festival, I imagined the event as this small mountain town overrun with an abundance of celebrities, who could be seen just walking around, outnumbering the actual moviegoers. Why? Because that's what a lot of the media concentrates on. And yes, when I did finally attend, I was able to spend five minutes walking up Main Street, in which little time I walked past Evan Rachel Wood, Maggie Gyllenhaal, Tom Arnold and others. Sure, they weren't the biggest names, but it seemed my imagined world actually existed. Of course, most of the big celebs are probably not walking around so casually. But I wouldn't know; the rest of the fest I spent my time watching 37 features, mostly far away from Main Street and the celebs, inside the Yarrow Hotel's press screening rooms.

For many attendees, though, it's all about the celeb sightings and the big-name movies, of which Sundance seems to premiere more and more of each year. However, 2007 didn't seem to have as many popular titles (as far as I noticed from my non-attending standpoint). In contrast, the 2008 festival appears to have more stars than the Academy Awards ceremony. Some of the big films that will be premiering or screening this year include Michel Gondry's Be Kind Rewind, Barry Levinson's What Just Happened?, Morgan Spurlock's new doc Where in the World is Osama Bin Laden?, Michael Haneke's Funny Games (U.S.), George Romero's Diary of the Dead and the directorial debut of Michael Keaton, The Merry Gentleman. And, for the sightseers, some of the attending stars include Robert DeNiro, Sean Penn, Maria Bello, William Hurt, Sharon Stone, Bruce Willis, Dennis Quaid, Ellen Page, Ben Kingsley, Ewan McGregor, Sean Combs, Julianne Moore, Charlize Theron, Brian Cox, John Malkovich, Matthew Broderick, Jacqueline Bisset, Meg Ryan, Jack Black and Mia Farrow.

For the rest, head over to Variety for the full list of films and of course their big-name casts.

Well, since it is Halloween after all, it makes perfect sense to get a little horror-related news. The Hollywood Reporter announced that Artfire Films and Romero-Grunwald Prods. have already given the go-ahead to a follow-up of George Romero's Diary of the Dead. This means they must be pretty eager considering the first film is not expected to be released until next year. Diary of the Dead centers on a group of young filmmakers in the middle of making a low-budget zombie flick who have the unfortunate luck of running into the real thing. According to THR, the sequel will focus on survivors from the first film, "Fighting their way out of a mansion through a horde of ravenous zombies, the survivors of "Diary" escape to a remote island only to be plunged into another battle with the dead".

So if you are not a fan of zombie movies (and I know there is at least one of you out there), it's going to be a rough year at the box-office . Only yesterday, Zack and Deborah Snyder confirmed that the follow-up to Dawn of the Dead now has a completed script and that they are on the hunt for a director. So we can add Diary of the Dead 2 to a growing list of films about the 'living-challenged' slated for 2008 (with my personal votes going to Brad Pitt's take on World War Z and the Vampire-Zombie hybrid, Virulents). Diary of the Dead is slated to begin principal photography this coming Spring.