After the success of the crime drama, Gone Baby Gone, I guess Ben Affleck and everyone else involved figured why mess with a good thing, and jumped right into another project based on a gritty crime novel. The Hollywood Reporter announced that Affleck is reuniting with his producing (and writing) partner Sean Bailey for The Blade Itself. The two will be producing the flick along with Miramax for Bailey's Ideology Films.

Miramax owns the film rights to Marcus Sakey's crime novel about two childhood friends. The Blade Itself centers on Evan and Danny, two kids from the 'mean streets' of Chicago. After a botched pawn shop robbery, Evan serves hard time and Danny turns to the straight and narrow. Seven years later, Evan is out and comes looking for Danny for payback. Using their past ties as a bargaining chip, Evan tries to drag Danny back into their partnership.

Back in October, Sakey himself had announced that it was Affleck and Matt Damon who would be producing. But it looks like there have been a few changes, since it is now Bailey and Affleck in charge. Bailey recently scored a first look deal with Disney for Ideology Films, and in the tradition of keeping it in the family, they will also produce the Jennifer Garner film, Sabbatical. Aaron Stockard, who also co-wrote Gone with Affleck, has been hired to adapt the script. I can't see them making many changes, but something tells me that with these two in charge, The Windy City will most likely be transformed into Bean Town. Just call it a hunch.

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?

The best movie year since 1999, 2007 offered a staggering bounty of cinematic delights. I keep track of all the movies I see in a given year and give each a letter grade, "A" through "F". Usually my Top Ten list consists of all of the "A's" and a few "B's." This year, "A" pictures made up my top twenty. With so many great films, I won't wallow through a "Worst of the Year" list, I'll simply present you with a few that didn't fully satisfy:

The Biggest Disappointment: The Darjeeling Limited -- A Louis Vuitton commercial stretched to feature length. The Darjeeling Limited is a perfect title for the film because it makes plain what a limited filmmaker the once great Wes Anderson has become. Hey Wes, people running in slow-motion while a Kinks song plays is always going to look pretty neat. But if there's absolutely nothing else going on in the scene, then that's all it is -- people running in slow-motion while a Kinks song plays. We all think it's really cool that you like The Kinks. Hell, I love those guys! The Rolling Stones are awesome, too! But I wouldn't ask them to do my job for me.

and...

The Biggest Question Mark: There Will Be Blood

Undoubtedly one of the year's most impressive technical achievements, There Will Be Blood is frequently stunning. It's so stunning, in fact, that it's easy to overlook how infuriatingly empty it all is. The film focuses on two main characters, and neither one changes a lick in thirty years and 158 minutes. How did Paul Thomas Anderson, creator of such deeply emotional rides as Boogie Nights, Magnolia, and Punch Drunk Love come up with a movie completely devoid of human emotion? (I'm not counting greed.) Beautiful, brilliant, and boring in equal doses, I've seen Blood twice, and I still don't know if it's a masterpiece or a mess. I just know I felt...nothing watching it. It's as hollow, as frustrating, as difficult to know as its "hero," Daniel Plainview.

On to my list. First, ten that didn't quite make the cut. Here's #20 through #11: (#20) Breach, (#19) Once, (#18) The Diving Bell and the Butterfly, (#17) Sicko, (#16) Sweeney Todd, (#15) The Lives of Others, (#14) Eastern Promises, (#13) Zodiac, (#12) Atonement, (#11) Before the Devil Knows You're Dead

And my Top Ten is after the jump...

Slant Magazine has put out its twin top ten lists for this year, and while I have some serious concerns about those lists -- they couldn't find room for Paul Verhoeven's masterpiece even in the honorable mention category! -- their superlatives boxes are some of the funniest I've seen anywhere. Here's a few of my favorites from their list: Most Homoerotic Use of a Computer goes to 300. Worst Performance By an Inanimate Object goes to Titus Welliver's mustache in Gone, Baby, Gone. I have to agree with that one. Worst Use of CGI goes to Jack Nicholson's skydiving scene in The Bucket List. And my absolute personal favorite of them all: Dramatic Climax Best Suited for a WWE Storyline goes to The Kite Runner. If you haven't seen it, you'll know exactly what that means when you do.

By the way, I've noticed that Slant has also jumped on the bandwagon of delivering high, if left-handed praise for the Aqua Teen Hunger Force movie. In his original review, Ed Gonzalez said the movie was "so completely and violently divorced from any normal concept of narrative thinking it becomes Dadaesque." Now, the Slant duo have given the film a prominent mention in their year-end wrap-up for its "avant-garde insanity." I recently heard about another well-known critic who is seriously mulling the possibility of including Aqua Teen in his top ten list for the year. When he told me, I honestly thought he was joking but now I see it's not just him. Although it never occurred to me before, now I think I actually have to see this movie. It sounds like I'm missing out on something.

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!

The casting news just keeps piling up for Shutter Island, Martin Scorsese's upcoming adaptation of the Dennis Lehane novel. (Films of Lehane's books have a pretty damn good track record -- see Mystic River and Gone Baby Gone.) Scott told you that Scorsese will be teaming (yet again) with Leonardo DiCaprio, who will play the lead role of U.S. Marshall Teddy Daniels. I told you that Mark Ruffalo signed on to play DiCaprio's partner, U.S. Marshall Chuck Aule. Christopher told you that Ben Kingsley is on board as Dr. Cawley, "the chief physician at a Massachusetts hospital for the criminally insane." And now I shall tell you that Michelle Williams is playing DiCaprio's wife in the film.

Variety reports that the drama "revolves around the trip made by Daniels to a remote New England island in 1954 to figure out how a multiple murderess escaped from a hospital for the criminally insane. He is grieving over the recent death of his wife, who was killed in a fire by one of the inhabitants of the facility." I'm about a hundred pages into Shutter Island, and have not yet been made aware of this wife/patient connection, but I do wonder how large a role Williams will have in the film. The only involvement her character has had in the novel so far has been brief flashbacks. I realize I'm setting myself up for meanie readers to spoil the book's secrets in the comments, but please don't! I'm just speculating. Regardless, I'm loving the novel and can't wait for the film...

Mark Ruffalo probably just sent an expensive bottle of something to his agent -- he's got a plum role in the new Martin Scorsese flick. Ruffalo will co-star with Leonardo DiCaprio in Shutter Island, an adaptation of Dennis Lehane's 2004 novel. According to The Hollywood Reporter, Ruffalo plays "U.S. Marshal Chuck Aule, who travels with his new partner (DiCaprio) to the eponymous Massachusetts island in 1954. As they investigate the disappearance of a patient from a hospital for the criminally insane, they encounter a web of lies, a hurricane and a deadly inmate riot that leaves them trapped on the island." Oh good Lord, can't wait for this one! But...

Does anyone else wish the Scorsese/DiCaprio collaboration would come to an end? Scorsese is my favorite director, and DiCaprio is a talented actor, but we're not talking about the second coming of DeNiro here. Shouldn't Scorsese share the wealth a bit, spread the love around? I don't think the pairing has gotten stale yet, but why push it until it does? Oh well, anything that keeps Marty from movies about Tibetan monks is okay by me. Laeta Kalogridis (writer of -- uh-oh -- Alexander, Pathfinder and the Bionic Woman pilot) will adapt Lehane's book, which I will be reading on an airplane in about three hours. Lehane is mighty hot in Hollywood these days. He writes for The Wire -- the best show on television, and his books have been turned into Oscar winners (Mystic River) and Oscar hopefuls (this fall's Gone Baby Gone, which was great baby great). Shutter starts shooting this March.

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.

Is the rush inspired by a possible writer's strike putting big forthcoming franchise flicks like Star Trek and Justice League in peril? Are there too many movies for grown-ups in the theaters right now? Has Ben Affleck successfully switched careers? And what end-of-year films are two of Cinematical's critics most looking forward to? Joining James on The Rocchi Review this week to talk about those questions and much more is Cinematical's Editor-in-Chief Erik Davis. You can download the entire podcast right here -- and we hope you enjoy.

"Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. ... He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it."

-- Raymond Chandler, The Simple Art of Murder

The detective's job and nature haven't changed much since Raymond Chandler wrote those words in 1945; the streets, though, are another matter. Directed by Ben Affleck, Gone Baby Gone follows two detectives, Patrick Kenzie (Casey Affleck) and Angie Genarro (Michelle Monaghan) as they go down the main streets and back alleys of shabby South Boston investigating the disappearance of little Amanda McCready (Madeline O'Brien). The girl's mother Helene (Amy Ryan) is a drunk, a druggie, a loser. In the early scenes where Helene stands in front of the media circus that's erupted around the case, Ryan brings a perverse, compelling mix of emotions to life in Helene's eyes, fear and confusion and a fierce, wretched kind of glee: She finally matters.

And normally, she doesn't, and she knows it. It's Helene's sister-in-law Beatrice (Amy Madigan) who actually hires Kenzie and Genarro -- Helene and her brother Lionel (Titus Welliver) both can't imagine anything above and beyond the efforts of the Boston PD. Kenzie and Genarro take the case, figuring they'll ask a few questions and earn a few bucks. The cops working the abduction (John Ashton and Ed Harris) are driven and competent and not overly fond of private investigators; their boss, Captain Doyle (Morgan Freeman) lost his own daughter to an abduction-murder years back, so he's driven, too. But everyone involved knows the math: The longer Amanda is lost, the more likely she'll be lost forever. And, through the days that turn to weeks, something happens: Kenzie can't stop looking.