I haven't seen this weekend's The Incredible Hulk yet, and will do so a little begrudgingly because it's an implicit (or explicit, depending on whom you ask) diss of Ang Lee's Hulk, a film I admire. But to the extent my interest in the Louis Leterrier version is piqued, it's mostly because of the casting of Edward Norton as the title character's alter ego. It's such an interesting choice -- partly because Norton usually stays away from projects like this, partly because he's so uniquely gifted, and partly because my mind just reels at hearing "you wouldn't like me when I'm angry" coming out of his mouth. I'll watch The Incredible Hulk less because I want to see another movie about Bruce Banner than because I'm curious to see Norton's interpretation of him.

All of which got me thinking about superhero/comic book casting in general. It's a subject that attracts a lot of breathless speculation every time a new movie is in the works, and there's rarely consensus on anything. In this edition of Cinematical Seven, I take a look back at what I think have been the most inspired, interesting, or appropriate superhero (and villain, because why not?) casting choices in recent history -- not so much the resulting performances (though it can be hard to distinguish in hindsight) but the initial casting decisions.

As I like to do with these lists, I tried to mix the obvious with the out-of-the-blue, so feel free to weigh in with what I unjustly left out. In no particular order:

I know, I know: it's horribly unfair to compare every movie that uses multiple personality disorder as a plot point to The Three, Donald Kaufman's fictional screenplay in Adaptation. And I quite liked Identity, which was basically The Three made flesh. But I can never resist.

The Three, you'll recall, involved a police detective, a serial killer, and the killer's female hostage, who later turn out to be the same person. Frankie and Alice, a psychological thriller that Halle Berry will produce and headline, is more like "The Two": according to Variety, Berry will play "a young woman struggling with multiple personality disorder and torn between who she is and a racist Caucasian alter-personality that preys upon her mind." It's not clear whether this is supposed to be pure schlock or an attempt at metaphor. Either way: oh dear.

Variety has no word on who is writing or directing, which could have given us a hint of what to expect. I feel like a script has to exist, because I can't imagine anyone shelling out money for this project based solely on that goofy logline. I missed Halle Berry's last dramatic offering, the fairly well-reviewed Things We Lost in the Fire. But Frankie and Alice seems more in the vein of Perfect Stranger, anyway, and unfortunately I did see that one. It's hard to know what to make of this project, but there's a distinct possibility of a fascinating train wreck.

If you're old and boring like me, chances are you're not heading out to some paradise for Spring Break this year. It's cool, though, because Moviefone has got you covered. They've had the unfortunate job of combing through thousands of photos, searching for the top shots of our favorite female AND male movie characters wearing their most beloved, adorable swimwear.

On the girls side, we have one of the more geek-famous shots of Princess Leia rockin' her slave bikini. (A personal favorite, if I may say so myself.) There's Halle Berry, Jessica Alba, Elizabeth Hurley, Ursula Andress -- trust me, you'll want to check out this gallery. The men also get their time in the spotlight (though none of them beat my rock-solid abs). Let's see, we have dudes like Matthew McConaughey (who takes his shirt off in every film just so he can wind up on a list like this later in the year), Jesse Bradford, Sean Connery and, of course, Daniel Craig. You be the judge of which Bond looks better in a bathing suit.

Head over here to check out the ladies, and over here to check out the guys. And make sure you vote for your favorites at the end.

It's Insert Caption craziness this week on Cinematical. On Monday, we posted not one but two photos, doubling your pleasure with hotties Halle Berry and Frances McDormand (yeah I said it) modeling MGM's summer and winter lines. At stake: Four boxed sets for four lucky winners. Congrats to our victors below, and special shout out to William G. for entering a single caption that applied to both photos, you're our Mickey Rourke Rebel of the Week.

1. "No I can't stir them; I can only shake them." -- Kurt M.

See full images and all captions

1. "I got his keys! His wife and kids are about to get Punk'd!" -- Max R.

2. "Duck...Duck....Duck...GOOSE!
-- Adi B.

3. "Hurry up with that coffee. And bring some of those donuts! I think somebody slipped Ed here some decaf, but yah, we're not too late he's still breathin." -- Chaz K.

This week we're giving away more lavish prizes, with a photo from the indie sleeper Pirates of the Caribbean: At World's End, starring Johnny Depp, Keira Knightley and an incredibly cute monkey. Our grand prize winner will take home the DVD (available on Dec. 4), plus all sorts of amazing Pirates goodies (a Gentle Giant Jack Sparrow Animated Maquette, Gentle Giant Elizabeth Swann Animated Maquette, Flying Dutchman Dual Deck playset and more) that totals up to almost $600. Our first runner up gets a DVD, a Barbossa porcelain structure and Pirates action figures, while our third-place winner gets the DVD. Got that? Good.

On a personal note -- this will be my last week posting Insert Caption contests as increasing responsibilities on the Moviefone side will limit my blogging action, so I'll be passing the caption-master torch to Erik Davis. But thanks for playing along with me! We'll always have India. And Finland. And Mr. Woodcock hats.

Read the official rules for this contest

There should be two lists: Which actress makes the most and which actress deserves the most. The Hollywood Reporter released their annual list of the highest-paid actresses in Hollywood, and leading the pack is Reese Witherspoon, who commands a whopping $15 to $20 million per film. Since winning an Oscar for her performance in Walk the Line, Witherspoon has starred in Just Like Heaven, Penelope and Rendition -- all of which did poop at the box office (save for Penelope which never opened). Will she still be demanding this much next year? God, I hope not. Geez, friggin' Carrot Top entertains more people than this gal.

Number two on the list, of course, is Angelina Jolie (though she only earned $8 million for lending her voice and body to Beowulf). Next up are Cameron Diaz ($15 million per film), Nicole Kidman ($10-15 million), Renee Zellweger ($10-15 million), Sandra Bullock ($10-15 million) and Julia Roberts ($10-15 million). Drew Barrymore, Jodie Foster and Halle Berry round out the list with around $10 to $12 million each per film. Out of all those names, unfortunately, I believe Jolie was the only one to turn in a great performance this year in A Mighty Heart (we'll see if Kidman redeems herself in both Margot at the Wedding and The Golden Compass come awards time). The rest? Blah. So blah. Might as well take all their photos and slide them next to the word 'overrated' in the dictionary. So, in your opinion, who deserves the most? And feel free to list someone not mentioned here.

I can't stand movie titles that do not, in any way, seem to coincide with the film's plot. Case in point: Variety tells us John Singleton has signed on to direct a thriller called Executive Order: Six, which will be financed by Relativity and is based off a script written by Philip Eisner (from a story he wrote with Robbie Consing). Lawrence Bender and Karen Barber will produce. Based on the title, it sounds like some corporate-themed flick, where guys in suits do bad things. It also begs the question: What happened to Executive Order one through five?

So what's it actually about? Well, Executive Order: Six follows "residents of a small, snowbound town, who band together to fight a mysterious horror that turns out to be an alien being unleashed by a plane crash." Sounds sort of like 30 Days of Night ... with an alien instead of vampires. I'm sure the whole Executive Order: Six fits into the script somehow, but you're telling me there weren't any other title suggestions? Like Snow Alien? Like ... The Secret Lives of Aliens? Or ... Crash Aliens? A Shot at Love with Tila Tequila? Wait, scratch that last one. Anyway, kudos to Singleton for finding another project to helm; the director has had a rough few months -- first he was involved in a car crash that killed someone, and then Tulia, the Halle Berry/Billy Bob Thornton flick he was supposed to direct, was postponed due to Berry being preggers (lingo you pick up after hanging around with way too many pregnant women). Do you like the title? What would you have called it?

If you were looking for a demonstration of how skillful execution can elevate a cliché pitch into a strong film, you couldn't do much better than Things We Lost in the Fire, Danish director Susanne Bier's American debut. Things We Lost in the Fire follows Audrey Burke (Halle Berry) a wife and mother whose world changes when her husband Brian (David Duchovny) is slain in a random moment of brutal violence. In her grief -- and desperate to maintain a sense of connection to her dead husband -- she reaches out to Brian's life-long fallen friend Jerry (Benicio Del Toro), a recovering heroin addict. She offers him a place to stay; the better question is, what does Jerry offer Audrey?

Bier's 2006 After the Wedding was an Oscar Nominee for Best Foreign Film; her 2004 release Brothers followed two siblings -- one as he adapted to life outside of prison and the other as he dealt with his military posting in Afghanistan. (A remake of Brothers, slated to star Tobey Maguire, Jake Gyllenhaal and Natalie Portman, was recently announced.) Cinematical spoke with Biers in San Francisco about working with her acclaimed cast, adapting to working with American crews and studios, child actors, shooting people you like, and more as part of a roundtable interview; Cinematical's questions are indicated.

Cinematical: Watching Things We Lost in the Fire, I felt a strong sense of thematic parallelism with Brothers -- these two separate films, but at the same time they're about these families remaking themselves in the light of tragedy. Was that something that you consciously thought of when you read the script for Things We Lost in the Fire, something you wanted to explore again?

Susanne Bier: Actually, I read the script and I thought '"Ooh, there are some parallels to Bothers: Do I want to do that?" And then I kind of felt that ... firstly, in Brothers, I kind of felt the female part was slightly unexplored; I mean, she could have been the main character, but that was not the story in Brothers. And I all the time had the feeling that there was another kind of story to tell, about her. And suddenly, I had a script, where this story was told, and I felt it was really compelling. And secondly, I've never ever dealt with a drug addict (in film) and I don't have any personal experience with that, and I'm not an addictive personality; I don't really have a sense of it, But I was really fascinated by it. And part of moviemaking is also sort of stirring up your own curiosity; at least, it is for me. I have to be really curious about stuff, and really kind of fascinated by it. And I was really fascinated by the notion of these two highly unlikely people who were going to somewhat save each other; this very unconventional love story. So even if there were parallels, there were a lot more things that weren't the same, and that really drew me to (Things We Lost in the Fire).

Audrey (Halle Berry) has a pretty good life. Or, rather, she did. We only see how great it was in the rear-view mirror: A rich-but-real marriage to Brian (David Duchovny), two great kids (Micah Nicolas Berry and Harper Burke); a beautiful home. But Brian's dead – horribly, suddenly, because someone angry had a gun – and we see Audrey wandering through her crowded, empty beautiful home, absently comforting her children, preparing for the wake, trying to understand that Brian is gone. The past and present mingle for us, as they do for Audrey; we're pulled into the dislocated murmur and hum of her grief. But something snaps Audrey to attention: She didn't invite Jerry. Audrey doesn't really know Jerry (Benicio Del Toro); he's one of Brian's oldest friends, a lawyer who got addicted to heroin and pretty much fell out of the world. She doesn't really like Jerry, either; we witness past fights and skirmishes between her and Brian about her husband's bond with this lost man. And yet, it becomes very important that Jerry be invited to the funeral and the wake – in part because Audrey would rather think about anything other than what's actually happening, in part because she's trying to hold on to even the smallest fragments of the life that's been lost.

Things We Lost in the Fire could very easily have played at the shallow, simplistic level of a TV movie, or as a lightweight weeper destined to being watched only in rainy-Sunday re-runs on cable. But somewhere along the line, a few interesting choices were made, and Things We Lost in the Fire is all the better for them. Dreamworks chose Denmark's Susanne Bier (After the Wedding, Brothers) to direct Allan Loeb's screenplay; Del Toro and Berry were signed to star. And the end result of those decisions is up on the screen – and far better than it could have been. This is a film that, essentially, earns what it does, one that's not manipulative but rather simply effective, one that confounds or exceeds your expectations as often as it meets them. And, thanks to Del Toro, it's defined by a completely brilliant, wholly absorbing performance from one of our best actors, a piece of acting so good you can feel the entire movie reaching and working to try to come up to his level.

If there's one thing I've ever learned in life it's that you should try to keep your personal life and business life separate. Once they collide, sh*t almost always hits the fan, and it will only be a matter of days before that big $100 million picture you were supposed to direct gets the shaft. Yes, I'm talking to you Mr. Robert Rodriguez. According to The New York Observer, Universal will no longer back Rodriguez's planned Barbarella remake because the director insists on placing his woman, Rose McGowan, in the lead role. Here's how their source describes the scene: "It's sort of embarrassing for everyone involved. No one thinks Rose can carry the movie, but Robert won't listen." (I can hear the sounds of the whip in the background as we speak.)

Other names that have lingered around the role include Nicole Kidman, Halle Berry and Jessica Alba. However, Rodriguez wants McGowan, and it doesn't appear Universal wants to shell out $100 million for a director who's whose last film bombed and a girl who's never amounted to anything more than playing "the hot slutty girl" in each of her films. Funnily enough, the original Barbarella starred Jane Fonda and was directed by her husband (at the time) Roger Vadim. Since Rodriguez and McGowan are engaged, I suppose it only makes sense to keep things in line with the source material. Apparently, Universal will still fund the film, but not at $100 million. They'll do $60 million, yet Rodriguez is said to be shopping the project around to other studios in the hopes of securing more money. Here's my question to you: If you were Universal, would you stick with the $100 million budget and take a chance on McGowan? Or do you think Rodriguez is too whipped to see there are better actresses out there?

Pictured Above: Halle Berry and Benicio Del Toro star in Things We Lost in the Fire.

And I don't know about you, but it looks like Benicio Del Toro lost some of his hair gel in this fire. Cinematical has just received four exclusive photos from the upcoming drama Things We Lost in the Fire, directed by Susanne Bier and starring Halle Berry and Benicio Del Toro. The film centers on Audrey (Berry), a woman whose life was shattered following the death of her husband. While attempting to pick up the pieces, she decides to help out her husband's good friend (Del Toro), a lawyer, who's hit some hard times, by inviting him to live with her and her two kids. Together they navigate their ups and downs, while forming a bond that will ultimately set them both on the right path. Personally, I find this on-screen pairing to be a fascinating one, and with the fabulous acting talents of Del Toro by her side, I'm expecting Berry to up her game and churn out a winner. You can check out the pics in the gallery below -- Things We Lost in the Fire arrives in theaters on October 19.