Finally. After God knows how many trailers, TV spots, viral sites, movie posters, merchandise, fan art, contests, Batman Anonymous meetings ("Hi, my name is Earth ... and I'm addicted to Batman), and an assortment of tomfoolery, The Dark Knight will officially arrive in theaters this Friday. And I've heard shows are already sold out through March 2011. Right on! That said, this might be the week you want to reflect back and read your favorite Batman comics, watch your favorite Batman movies, or spend some alone time with your favorite Batman.

Which brings us to this week's super awesome Monday Morning Poll: Who is your favorite Batman? For this we're sticking solely to folks who've played the Caped Crusader on the big screen. Since a lot of Bat-fans have come to adore Kevin Conroy's voice performance, we'll include both live action and animated versions. For me, it's a toss up between Christian Bale and Michael Keaton. Bale has the looks and the charm, but Keaton had that "insanity factor" -- one look in his eyes and you knew this guy had a few screws loose. Tough choice. Where do you stand?

His last movie didn't do so hot, but George Clooney's still making headlines. This time, he has spoken out about the recent split between the Screen Actors Guild and the American Federation of Television and Radio Artists. According to Variety, Clooney has decided to stay neutral where many prominent actors have taken sides, and he's urging others to take the same route. If Hollywood actors go on strike, it'll probably be SAG's fault, considering the eagerness of AFTRA to negotiate a deal with the Alliance of Motion Picture and Television Producers. AFTRA's biggest defender is Tom Hanks, while Jack Nicholson is heading up the other side. "Stories about Jack Nicholson vs. Tom Hanks only strengthen the negotiating power of the AMPTP," Clooney said in a statement.

Like many actors, Clooney wants to take any measures he can to prevent a strike. As a member of SAG, the Directors Guild of America and the Writers Guild of America, he wears many hats. "I'm hoping that there might be a way out of this," he said. "To be sure, I'm not the brightest bulb out there. So maybe someone has a lot better idea." Then he got personal: "I just happen to believe so strongly in both unions... my father, my mother, aunt, uncle, even cousins were all members." Nobody's doubting his allegiance, but after souring his relationship with the WGA after Leatherheads came out, it's hard to say how the other unions will regard him in the coming months.

The consensus I've gotten from people after they've seen the red-band trailer for the Coen brothers' Burn After Reading is that nobody understands what it's about, and nobody cares, because everybody thinks it looks awesome. Well, if you thought that trailer was confusing, or at least lacking in plot synopsis, just imagine how moviegoers outside the U.S. feel after seeing this new international trailer.

As you can see, marketing to international audiences is more about selling the stars. Hence the CLOONEY, the McDORMAND, the MALKOVICH, the SWINTON and the PITT titles. As for story, there's even less revealed here than in the red-band trailer. In fact, it's almost a joke how little is said about the movie. Each actor/character maybe gets to slip in one or two words, which actually just serve as response to more intertitles telling us about the other major stars of the film: the Coens.

When you think John Grisham, you usually think of legal thrillers, right? Well, that and the term 'airplane reading', but you probably don't think pastoral sports stories (I know I don't). The Hollywood Reporter announced that Phoenix Pictures has purchased the rights to Grisham's 2007 novel, Playing for Pizza, and the company is already on the hunt for a writer and director for the sports dramedy.

Pizza centers on a third string quarterback for the Cleveland Browns named Rick Docker. After blowing his team's championship shot, Rick is dropped from the team and blacklisted from the NFL. Luckily for him, his enterprising agent finds him a spot in the Italian football league playing for the Parma Panthers. From then on the story is probably a compendium of 'fish out of water jokes', and general cultural misunderstanding -- I'm thinking something along the lines of Under the Tuscan Sun, but with a lot more tackling.

After the gut-wrenching terror of No Country for Old Men (I haven't been that tense in a movie theater since, well, ever), I can safely say that I am incredibly relieved that the Coens' next film, Burn After Reading, looks like it is going to be a lot more fun. First Showing now has some stills from the Coens' black comedy, and it would appear that the brothers are returning to what I like to call their 'Raising Arizona roots.'

Burn is the story of a CIA agent (played by George Clooney) who is assigned to investigate the case of a former agent named Ozzie Cox (John Malkovich) who has taken his revenge on the agency by writing a tell-all memoir. When Cox's ex-wife (played by Tilda Swinton) steals the only copy and leaves it behind at her gym, the gym's owner (Frances McDormand) and star personal trainer (Brad Pitt) see an opportunity to engage in a little blackmail.

The Coen flick just got the nod to open the Venice Film Festival this year, but Burn will not be making an appearance at Cannes this year (which is a little strange considering the luck they had at the French festival last year). This makes it zero for two for Pitt now that his other high-profile film, The Curious Case of Benjamin Button, also failed to make the list for Cannes. Burn After Reading is scheduled for wide release on September 12th, 2008.

The vast majority of the WGA's 12,000-plus members patiently stayed away from their word processors during the recent three-month writers strike, notwithstanding dwindling finances or a threat to their careers. But a few members decided to go "financial-core," an irreversible decision that made them only limited, non-voting members of the guild and allowed them to return to work. (This, if you recall, is the move George Clooney made, before the strike, in response to the WGA's decision to deny him credit for the Leatherheads screenplay.)

On Friday, the WGA sent a letter to its membership that praised the writers for refusing to work, "[i]n the face of enormous personal and financial hardship," for the good of the union. It then went on to chastise those "puny few" who "consciously and selfishly decided to place their own narrow interests over the greater good." It urged that these writers "must be held at arm's length by the rest of us, and held accountable for what they are -- strikebreakers whose actions placed everything for which we fought so hard at risk." The letter ended with a link to a website containing the names of the 21 writers who opted to become financial-core members.

No sooner do I write an adulatory post about George Clooney than I come upon this story about the trouble he's been having with the Writers' Guild of America over credit for the Leatherheads screenplay. He's so upset at the way he's been treated that he's gone "financial core" at the Guild, which is an irreversible decision making him a limited, non-voting, dues-paying member. He says he would have quit altogether, but that would have basically prevented him from working as a screenwriter in Hollywood.

According to Clooney, the original Leatherheads script by Duncan Brantley and Rick Reilly had been bouncing around for almost two decades before he took it, rewrote it as a screwball comedy, and got the project greenlit. He believes that he wrote all but two scenes of the resulting film. But when the credit squabble went to arbitration before the WGA last fall, the guild determined that Clooney didn't deserve screen credit for his work. That was the end of the line for him (he declined to appeal), though he kept the matter quiet at the time because of the ongoing writers strike.

As Leatherheads arrives in theaters, you're going to be hearing the phrase "screwball comedy" a lot, either in the barrage of pre-opening publicity or in review after review. "Screwball comedy" implies a certain snap and rotation -- a velocity to the gags and a vector to the plot -- but the people who made Leatherheads don't quite have the strength of arm or skew of angle to make Leatherheads truly screwball; it kind of fizzles out on the way to the plate. And that's not to say Leatherheads is charmless or unenjoyable or ill-made; it just isn't quite as good as the pedigrees and passions of the people involved would have you think it will (or, frankly, should) be.

Yesterday, Monika asked if we were tired of George Clooney, who has undeniably been everywhere since making his escape from ER in the mid-1990s. I wanted to weigh in, because my answer is a curious one, and it sadly wasn't an option in Monika's poll: I used to be tired of him, but I'm not anymore.

I think the peak of my tiredness came with the dreadful Perfect Storm in 2000. I remember being so sick of seeing Clooney pop up as these boring, poker-faced, tediously noble action heroes. I hadn't seen his earlier B-movie efforts at the time, and the triple-threat of Batman & Robin, The Peacemaker and The Perfect Storm made me wish he'd never been born. (I had seen Three Kings, and honestly don't remember why that didn't change matters for me -- I think I wrote it off as a fluke, and was more impressed with Ice Cube anyhow.) What an anodyne heartthrob, I thought, with no personality or real talent. Get him out of my sight.