New York City's Film Forum will be screening both The Godfather and The Godfather Part II during a special three week engagement beginning September 12. And yes, it's a big deal. The first two installments of Francis Ford Coppola's trilogy are often featured in repertory houses, sure, but Film Forum's presentation is of newly restored 35mm prints, which were produced under the direction of Coppola and cinematographer Gordon Willis and the supervision of film historian and master preservationist Robert A. Harris. The Godfather will run solo from September 12 through September 18, then The Goffather Part II will run solo from September 19 through September 25, and finally, back-to-back screenings will be featured from September 26 through October 2 (the double feature does, unfortunately, require separate admissions). As far as I can tell, neither of these digitally restored classics includes new computer-generated characters or backgrounds, and obviously the guns are likely to still be guns rather than walkie talkies.

If you can't make it to NYC for any of these shows, Paramount is apparently also releasing the restored films in other select cities, including Los Angeles and San Francisco. Or, you can check out the new versions as part of "The Godfather, the Coppola Restoration collection," which also includes a remastered Godfather Part III, on DVD or Blu-Ray beginning September 26 23 (the DVDs may be purchased in a 5-disc box set, which includes two discs of special features, or separately, in case you like to forget about Part III; the Blu-Ray versions seem to be only offered together in a 4-disc set).

The film garnered Francis Ford Coppola Oscar nods for Best Picture and Best Original Screenplay. It's ranked at #184 out of IMDb's Top 250. And now, after 34 years, The Conversation might be headed for television. Variety reports that AMC is looking to develop a series based on the film, as part of the decade-long efforts of producer Tony Krantz. Christopher McQuarrie (The Usual Suspects) and Erik Jendresen (Band of Brothers) have been tapped to write a new script.

The interesting twist in this tale -- it won't be a modernized version. "The TV project will be set in the early 1970s -- emulating the time period of the original thriller -- and center on electronic surveillance expert Harry Caul, played in the film by Gene Hackman." Krantz says that the film will look at our present issues with privacy and spying, through the filter of the '70s.

However, this isn't yet set in stone. The project previously failed to get off the ground at ABC, and before that, it almost came to fruition at NBC with the one and only Kyle MacLachlan starring. After the likes of The Lives of Others and Red Road, the project certainly fits -- but should it be directly tied to Coppola's film? Rant or rave in the comments.

Too much merchandising can saturate the classiness of a film, but I still think any actor who has played an iconic character should stick with that role through and through. Decades ago I was down for any movie star reprising a role for an animated spin-off (Mary Steenburgen, you're constantly giving me reasons to love you), and today I support anybody who follows his or her character to the world of video games. So, regardless of whether or not Francis Ford Coppola approves, kudos to Robert Duvall for being involved with Electronic Arts' upcoming game version of The Godfather II.

While other actors from the Godfather sequel have at least allowed their likenesses to be represented, just as they had with The Godfather: The Game before, Duvall's role in the game is more significant. Variety reports that his character, Tom Hagen, features prominently as an adviser to the player, and Duvall is recording new voiceover dialogue for this purpose. As with the first game, Al Pacino has chosen to not be involved (he's obviously holding out for that Scent of a Woman game to mark his video game voice work debut).

It's a splendid week for indie lovers with a taste for classic cinema -- which is everybody, right? -- with a flock of great Westerns and two Louis Malle films from Criterion among the highlights. More recent fare is more scarce.

Even though reviews were mixed to negative (our own Jeffrey M. Anderson was definitely mixed), Francis Ford Coppola's Youth Without Youth (Sony Classics) is almost required viewing. (Erik Davis posted a clip from the DVD just last week; check the official site for more.) The DVD includes an audio commentary by Coppola, a "making of" feature and two others on the music and make-up.

Tricia Regan's doc Autism: The Musical (Docurama) follows five autistic children as they write and produce a musical. Brendan Butler at Cinema Blend called it "heart-wrenching and heart-warming ... The dialogue the film opens with is as vivid and fierce as any hot-button topic in our country today." (Read more about the film at the official site.) The DVD includes deleted scenes and a "companion guide."

Leelee Sobieski stars as a would-be dominatrix in Walk All Over Me (The Weinstein Co.), which debuted at Toronto last fall; Eye Weekly said it was a "somewhat messy but energetic comic thriller." (Check the movie's site for more information.) The DVD includes a commentary by Sobieski, co-star Tricia Helfer and director Robert Cuffley, behind the scenes footage, a deleted scene, outtakes, a music video and still gallery.

Cinematical was just sent this exclusive clip from the upcoming Youth Without Youth DVD, starring Tim Roth, Alexandra Maria Lara, Bruno Ganz and Andre M. Hennicke. Produced, written and directed by the legendary Francis Ford Coppola, Youth Without Youth follows linguistics professor Dominic Matei (Roth) who, in 1938, gets struck by a bolt of lightning and starts aging backwards, from 70 to 40. There's seemingly no limit to the wonder and love he can find in his new youth. He pursues lost dreams, endless knowledge and the secrets of life until his secret is discovered. Now he must use his increased intelligence to keep his powerful secret safe from the wicked powers that would use it for evil. The above behind-the-scenes clips shows how the filmmakers went about aging Tim Roth through make-up and other wacky techniques. (And, personally, I just love Tim Roth in anything -- so I'd watch something like this a bunch of times.) Here's a question: What's the first thing you'd do if you started aging backwards?

Youth Without Youth arrives on DVD and Blu-ray High-Def on May 13th.

When you look at Javier Bardem, do you think: "Gee, he'd look great in a dress!" or, "Gee, he'd make a good woman?" No? Well then, you're right in line with Francis Ford Coppola. According to The Hollywood Reporter, he's made a big change in his upcoming film, Tetro, giving what he calls a "sex change" to the character Bardem was set to play. So, Bardem is out and fellow Spaniard Carmen Maura (Volver) is in.

During rehearsals for the shoot, Coppola realized that things needed to be changed: "One of the important roles in the script is a mentor and teacher to Tetro (Vincent Gallo), and I originally wrote it for a man. As I read and reread (the script), I felt that the interaction between the two characters would be far more intriguing if they were of the opposite sex." However, other sources have told THR that Bardem "became unavailable." This could be true, as the actor wasn't available for the rehearsals in Buenos Aires. But if it is, why not say as much?

Whatever the case, you can be sure that Maura will give a very different performance than Bardem would have -- just like Gallo will definitely bring something very different to the table than Matt Dillon. The film follows Tetro, a man living in Buenos Aires and being mentored by Maura's literary critic, when his estranged younger brother (Alden Ehrenreich) comes to find him. Production began on March 31.

Over on Spoutblog, Cinematicalite and Spoutster Christopher Campbell has a couple of entertaining posts up detailing the five best and worst directorial sellouts of all time. From Francis Ford Coppolla's The Godfather and The Godfather 2 (Best) to Alien Resurrection (Worst), Campbell breaks down the whys and wherefores of his thoughts on these directorial missteps. Go take a look at what he has to say about the worst of the best and the best of the worst, and then let us know what you agree with -- or don't.

As a coda to these best and worst directorial sellouts lists, it would be interesting to see Christopher do the obvious follow-up -- the best and worst sellouts by otherwise respectable actors and actresses.

Things don't seem to be going smoothly for Matt Dillon. For the second time this year, his lead role is going to someone else. First it was Cadillac Records. Now it's Francis Ford Coppola's Tetro. The Hollywood Reporter has posted that Vincent Gallo has signed on to star in Coppola's next directorial gig, with no reference to the previously-attached Dillon.

Gallo, meanwhile, signs on for the project after throwing a big stink about his previous gig, Giallo. Back in February, he was less than pleased that Dario Argento had cast daughter Asia Argento, and wanted out: "I'd rather not be in a movie with her. I'm not a fan. I was a fan of her father's. I'm retiring." I guess Javier Bardem and newcomer Alden Ehrenreich can feel honored that Gallo is willing/interested in working with them!

With production beginning at the end of the month in Buenos Aires, the film focuses on two brothers, played by Gallo and Ehrenreich. They're "torn apart by rivalries and betrayal," older bro Gallo heads to Buenos Aires, and younger brother Alden goes there to find him. Bardem will play an Argentinian literary critic and Maribel Verdu is Tetro's love interest.

Twenty-one years ago, Francis Ford Coppola made Peggy Sue Got Married. It was a strange fantasy comedy, one that scored itself some Oscar nominations and starred Kathleen Turner and Coppola's nephew, Nicolas Cage. There's already been talk of how Cage was difficult on set. The actor himself admitted last year to Conan O'Brien that he based Charlie's strange and distracting voice on Gumby, and how his uncle and the studio almost fired him over it.

Now there's more word about his behavior during that production, and he's really not happy with it. In her upcoming book, Send Yourself Roses, Turner discusses her time with Cage during the film, and while the book has yet to hit shelves, the BBC reports that a "defamation, libel, and slander" case has been filed by Nicolas in London's High Court. What has got him so worked up, especially since he already admitted to being difficult?

According to The Daily Mail (via American Superstar), she wrote that Cage was "absolutely determined to prove that he wasn't there as the result of nepotism." And followed it up with: "Oh, that stupid voice of his and the fake teeth! Honestly, I cringe to think about it. He caused so many problems. He was arrested twice for drunk-driving and, I think, once for stealing a dog. He'd come across a chihuahua he liked and stuck it in his jacket."

So -- was he just a bratty and difficult nephew on set, or was he some wacko who stole chihuahuas? Who knows? It still sounds entertaining. Turner's book is scheduled to hit shelves this month, and also features dirt on Burt Reynolds and Christie Brinkley (the latter of which sounds like Spider-Man, without crime-fighting as an excuse for no-shows).

Last month the honorable task fell to me to review two of the year's most anticipated movies for Cinematical, Francis Ford Coppola's Youth Without Youth (9 screens) and Paul Thomas Anderson's There Will Be Blood (51 screens). In retrospect and with a comfortable critical consensus in place, moviegoers can easily see that Youth Without Youth is a "bad" movie and There Will Be Blood is a "good" movie. But in that first moment, when the movie is freshly unspooling, there's nothing to go by but your own anticipation, experience and gut reaction. And these were two of the toughest movies I ever saw. In each review I said something like "these movies may have their flaws, but they're too rich and complex to be easily dismissed."

December is jam-packed with notable movies, each vying for a spot on our personal top ten lists or on our awards ballots. There are many more movies than usual and there is a heightened sense of anticipation for each movie. It's easy to get befuddled, our heads packed with too many images and opinions. I didn't much like Margot at the Wedding (85 screens), and I liked Persepolis (7 screens) very much, but I had a hard time recalling either movie a few weeks later, mainly from overload. (Critics who cover film festivals usually experience this same phenomenon.) What I really needed was more time to ponder each movie, or at least a second chance to see certain movies.