If you are the type of person who believes what you are told, then the release of James Gray's Two Lovers is probably your last chance to see Joaquin Phoenix 'the actor' before he takes the hip-hop world by storm -- but that's only if you believe what you've been told. For every person who is convinced that Mr. Phoenix has gone around the bend (and you can't blame them with footage like this floating around), you will find another person who thinks that the whole thing is a big hoax...and it wouldn't be the first time we've been taken for a ride by a celebrity. But until Casey Affleck releases that 'documentary' of his, we won't know for sure, and I decided it might be worthwhile to look at other Tinseltown hoaxes to remind us that you can't always believe what you read -- especially in Hollywood.

1. Stanley Kubrick Fakes the Moon Landing
It's been a popular conspiracy theory that the director provided most of the footage for the Apollo 11 and 12 Moon landings; and as the story goes, Kubrick was right in the middle of post-production on 2001: A Space Odyssey, when he was approached by NASA to create footage of a moon landing since his was so realistic. Over the years, most of these theories have been debunked, but defenders of the 'Kubrick connection' love to remind us that Kubrick later used lenses for Barry Lyndon that were developed by NASA -- which they say is the proof of payment for faking the lunar adventure.

After the jump: the birth of 'Bigfoot' and hoaxes that ended with hard time...

Not many movie-going summers have had the good sense or fortune to formally kick themselves off with the likes of Hugh Jackman and his razor-sharp jazz hands, but as these are the times in which we live in, it's a clear indication that we're in for about eighteen weeks of spectacular spectaculars worth gulping down popcorn and guzzling down pop* with.

Eugene's already shone the spotlight on a fair amount of smaller titles worth your while, so our staff tried to keep the focus on that which we haven't seen, those spectacles for which we're most excited and least likely to text during. Ladies and gentlemen, boys and girls: sit down and shut up, because these are the seven movies that we're fairly f**kin' pumped for.

(*Okay, I pretty much never call soda that, but you get the idea.)

This year it's Summer Appreciation at Cinematical, but summer doesn't just mean one lumbering tentpole blockbuster after another. In fact, smaller distributors and indie studio arms often use summertime to offer some great low-key alternatives -- not big Oscar contenders, but smaller-profile festival favorites. And this summer is particularly rife with other options if and when you tire of all the sequels and franchises. Here are seven small films -- most but not all of which I've seen -- that you might consider supporting in the next three or four months.

1. The Brothers Bloom (May 15) - Rian Johnson's sophomore feature -- a character-driven fairy tale masquerading as a con man flick -- debuted at Toronto last year to muted acclaim. It's no Brick, but it's actually a fantastic summer offering: sunny, whimsical and bittersweet. Summit was originally set to release the film last fall, then last winter, before finally bumping it to May. It's legitimately funny and whip-smart, which should make it an attractive option in mid-May.

The first poster for Adventureland gives "from the director of Superbad" the lowest, smallest billing. The most recent poster puts it first and foremost, even making it more colorful than the title and, one could argue, the cast itself.

In the weeks leading up to its release this Friday, the marketing campaign for Adventureland has been slowly, steadily, understandably tweaking itself to play up director Greg Mottola's last hit teen comedy, Superbad, but ever since seeing the film, I've been convinced that those expecting something so raucous this weekend will soon find themselves shifting in their seats as they watch something that's a bit more concerned about the 'age' in 'coming-of-age' than the 'coming.' It's not a tremendously misleading sell, but rather a matter of tone, and as such, here's seven reasons why you should look forward to the film beyond thinking it's the Next Big Quotable Comedy.

Apocalypse you say? Then armageddon outta here. Whether it's war, pestilence or one of the other Four Horsemen, the end of civilization as we know it has been a recurring theme since the beginning of science fiction cinema. This Friday sees the release of Knowing, a film in which a looming global cataclysm plays a major role -- so let's take a look back at seven films with different versions of how it will all end.

I Am Legend (2007)
Let's start with one that's still fresh in everyone's mind. In this film based on the Richard Matheson novel, Will Smith plays Robert Neville who, at the start of the film anyway, appears to be the last man on Earth thanks to his immunity to the virus that has stricken everyone else. The majority of the population has died from the disease, while the remainder have been mutated into animalistic rage-driven creatures who fear the daylight. Neville is a virologist and spends his days looking for a cure and his nights locked away in the safety of his Manhattan home.

It's interesting that this is one of the few such films where the end of civilization is not brought on by an act of aggression, but by a noble cause: a man-made virus intended to cure cancer that goes horribly wrong. The film is entertaining, but personally I find the CGI Darkseekers distractingly unconvincing. They leap around as if they have no weight and when they shriek their jaws distend like an anaconda swallowing a pig. Also, the film's original ending, which you can see on the DVD, made a lot more sense to me. Of the previous adaptations of the novel, The Last Man on Earth with Vincent Price remains my favorite. Charlton Heston's The Omega Man has its moments but hasn't aged well and starts to run out of steam early on.

"I believe that children are our future
(Thank you)
Teach them well and let them lead the way..."
-Randy Watson (Eddie Murphy), Coming to America

It might be presumptuous for someone as young as I am to offer up words of wisdom to any fledgling film critics out there, but in an age where print critics are only dwindling in number and online reviewers are subjected to constantly shifting standards of the industry, the prospect of constructive advice is my effort to provide something that wasn't necessarily there when I started in the field. Just because anyone can start their own review site doesn't mean that they should, but hopefully, some of the following tips will help encourage those of you still determined to give this a go to hold yourself and your work to a higher standard.

Once you realize that Academy Awards and quality correlate only sporadically, the only reason to watch is the hope of seeing something surprising or controversial. People slagged last year's weird Pilobolus shadow-puppet interludes, but what the hell: at least it was something I hadn't seen before. Seeing as how a lot of the substantive results seem like even more of a foregone conclusion than usual this year, there's even less motivation to watch. So here are seven pleasant surprises I'll watch for on Sunday in the hopes of keeping entertained.

1. The ceremony comes in at three hours or less. It hasn't happened in the modern era; the shortest ceremony since 1996 happened in 2005 -- the year of Million Dollar Baby -- and it ran three hours and fourteen minutes. Last year's festivities took 3:21. Look, I'm generally skeptical of accusations that the Oscars are "self-indulgent": it's an awards show put on by the industry for the industry. Of course they're self-indulgent. They're also boring, which seems to me the more relevant accusation. Ratings have been steadily declining, with last year an all time low. Shorter and snappier please. That they've offended Peter Gabriel by asking him to trim his nominated song performance to 65 seconds for the show seems, I hate to say it, like a step in the right direction.