To triple dip or to wait? That is the question facing Dude-loving fans of the Coen Brothers' cracked comedy The Big Lebowski, which is due out on September 9 in a Tenth Anniversary Edition from Universal Home Video. Jeff Bridges, John Goodman, John Turturro, Steve Buscemi, and Julianne Moore star. The announcement was made without details on bonus features; DVD Active has now posted pictures of the menu screens, so we know what's new.

The Big Lebowski was initially released on DVD in 1998, and then was remastered for the 2005 Collectors' Edition. That edition included a "making of" feature, photos by Jeff Bridges, and a brief, jokey introduction. Those extras were included on the HD-DVD edition, released in June 2007 (and reviewed at High-Def Digest). The Tenth Anniversary Edition features those extras plus more: "The Dude's Life," "The Dude Abides: The Big Lebowski Ten Years Later," production notes, theatrical trailer, "The Lebowski Fest: An Achiever's Story," "Flying Carpets and Bowling Pin Dreams: The Dream Sequences of the Dude," interactive map, and photo gallery.

A standard Tenth Anniversary Edition will reportedly retail for $19.98, while a Limited Edition "in special bowling ball packaging" (pictured) will also be available. No news on a Blu-ray edition, though, so the question remains: will you triple dip or wait for Blu-ray? Or will you roll this sucker into your alley? The Dude wants to know.

Cinematical just received this exclusive poster for What Just Happened? (click to enlarge), which comes to us from director Barry Levinson (Rain Man, Wag the Dog). Based on producer Art Linson's memoir What Just Happened? Bitter Hollywood Tales from the Front Line, the film stars Robert De Niro as a middle-aged Hollywood producer who tries to juggle an actual life with an outrageous series of crises in his day job.

As you can see from the poster, however, this puppy is packed with talent. You've got De Niro, Sean Penn, Bruce Willis, John Turturro, Stanley Tucci, Catherine Keener and the list goes on. When What Just Happened? premiered earlier this year at the Sundance Film Festival, Cinematical's James Rocchi described it as "movie geek heaven," saying De Niro produces "his best 'sly' comedic work since (probably) Wag the Dog." And how can you not love that poster and its tagline? Hilarious. Really looking forward to seeing this one when it arrives in a few months. (Check out the full synopsis after the jump)

What Just Happened? is set to hit theaters on October 3.

It would be one thing if You Don't Mess With the Zohan was simply bad; after the recent string of Adam Sandler comedies like I Now Pronounce You Chuck and Larry, Click and The Longest Yard, You Don't Mess With the Zohan continues the Sandler career path where low comedy is intended to result in high profits. Sandler's films now seem to function mostly as a kind of philosophical experiment: How lazy, sloppy and stupid can a film be and still make money? And let's not mince words here, or hem and haw and add caveats about a few laughs or good intentions: You Don't Mess With the Zohan is astonishingly, impressively, depressingly bad.

And no, this is not some sneering, soft-handed ivory-tower resident looking down on Sandler's work from a lofty height; this is someone who loves a good smart dumb comedy telling you that if you see You Don't Mess With the Zohan, you'll witness a moment where Zohan -- the Israeli commando-turned-hairdresser played by Sandler -- wishes a sad farewell to someone with his junk. We get a close-up of it -- bulging, frame-filling -- and it waggles a little wave to us, sadly, as Zohan wishes goodbye to a girl he might have loved, eyes sad and crotch engorged.

My pick of the week is Ben Affleck's directorial debut, Gone Baby Gone, which far exceeded my expectations. Casting his younger brother Casey Affleck as a savvy private eye investigating a child kidnapping might have been a disaster, but Casey turned in an exceptional performance, as did Amy Ryan as the missing girl's severely damaged mother. The film has a handsome, autumnal look, and the surfeit of close-ups should make it ideal on the small screen. Miramax's DVD includes an audio commentary by Ben Affleck and his co-scenarist Aaron Stoddard, behind the scenes footage, a casting featurette, deleted scenes, and an extended ending. (See Erik's DVD review here)

Our own James Rocchi said that In the Shadow of the Moon is "one of the best science documentaries in recent memory, and also much more." Directed by David Sington, the film features new interviews with the surviving Apollo astronauts and archival footage of the moon missions. I'm a space nut from way back and I'm sorry I missed this in theaters, but I plan to sit very close to the television when I watch this. ThinkFilm's DVD appears to be a bare-bones edition.

In the mood for a coming-of-age tale from Australia? Introducing the Dwights might tickle your fancy. Revolving around a "somewhat eccentric family" of entertainers, Erik Davis called it "sweet, quirky, sincere." (You'll have to read his review again to be reminded why he was left blushing at one point.) Warner Independent's DVD doesn't appear to have any additional features of note, so a rental might do the trick.

Other indie releases include John Turturro's musical drama Romance & Cigarettes, with an audio commentary and deleted scenes, and comedy / drama / romance Blue State, featuring Anna Paquin and Breckin Meyer.

Well, Spike Lee and I have had a complicated relationship over the years. As much as I have always respected his films, I haven't always agreed with him. But, unlike a lot of directors, at least he always has something to say. BlackFilm.com is hosting the first image from Lee's Miracle at St. Anna. The script focuses on the "tale of four members of the U.S. army's 92nd division of all-black soldiers, who in 1944 became trapped in a Tuscan village, as they contended with their racist, incompetent commanders and the Nazis".

Based on the novel by James McBride, the story centers on the massacre of Sant'Anna di Stazzema. On August 12, 1944, retreating SS-men rounded up 560 villagers and refugees (mostly women, children and the elderly) shot them and then burned the bodies. McBride adapted his own novel for the screen and the cast includes John Turturro, James Gandolfini, Derek Luke (Antwone Fisher) -- who is replacing the tax-plagued Wesley Snipes, and Laz Alonso.

The project had a rocky start when Lee's comments about the treatment of African-American veterans in film caused a bit of a press frenzy. Shooting began back in October on location in Tuscany and Lee is also planning to shoot in Rome, New York, and Nassau, Bahamas. Surprisingly, Miracle has yet to find a studio, but Lee is planning on a 2009 release, so I would expect to hear something soon. It just goes to show you the sorry state of the industry when somebody like Michael Bay has no trouble setting up a studio for whatever crap-fest he has planned next, and yet one of the greatest American directors struggles to secure a deal. How depressing is that?

In honor of the striking screenwriters, I wanted to write a list of my favorites, either contemporary or all-time. But I decided that it would be more respectful to not exclude any of them. Even the bad writers need recognition right now. I've tried writing screenplays, and I salute anyone who has had one produced, whether brilliant or not. Even if it weren't difficult to actually write a script, it's certainly tough to deal with the b.s. of Hollywood and the sad truth that your vision will likely not make it to the screen as devised. So, instead of concentrating on real writers, I figured I'd look at screenwriter characters, specifically those portraying the hardships of the job.

"Joe Gillis" from Sunset Blvd. (1950, Billy Wilder).

I imagine there's nothing scarier for a struggling screenwriter than the thought of ending up like poor Joe Gillis (William Holden). The opening shot of Wilder's classic shows the character floating face down in a swimming pool, and immediately he's labeled "an unsuccessful screenwriter." This sets up a hopelessness for the character, and for writers in general, as the film then flashes back to one of the greatest stories of Hollywood cynicism ever made. Gillis not only represents the difficulty of making it as a screenwriter, he also shares some juicy lines about how writers aren't recognized enough by the public ("Audiences don't know somebody sits down and writes a picture; they think the actors make it up as they go along."); about drastic alterations to his scripts ("The last one I wrote was about Okies in the dust bowl. You'd never know because when it reached the screen, the whole thing played on a torpedo boat.") and about the desperation that turns good writers into seemingly hack writers (replying to talk of his once promising talent, he says, "That was last year. This year I'm trying to make a living."). There were screenwriter characters before him, and plenty after, but Gillis will forever be the quintessential example.

Let the following story be either a cautionary tale, or a story of hope, one that carries the message: always pay your taxes. As you know, Wesley Snipes got into a wee bit of tax trouble last year. He was indicted last October, and arrested last December. Well, the thing is, he was supposed to star in Spike Lee's upcoming World War II drama, Miracle at St. Anna. According to Variety, he's withdrawn from the project "because it became too difficult for him to leave the U.S. and shoot in Italy while he fights federal tax-fraud charges." Gee, what a surprise!

This scenario is, however, probably the only one where it might be beneficial to ignore the rules. I mean, if he's found guilty (he pleaded not guilty), how else is he going to pay back the money? He'll have to dip into his piggy banks, or find work in the states, because Derek Luke has replaced him. (That's good for Luke, but there is a 12-year age difference between them... I'm not sure what the rationale is here.) The actor just played an Army Ranger in Lions for Lambs, and now he's going back in time to play one of four members of the U.S. Army's all-black 92nd Division -- who found themselves without their squad behind enemy lines. "The soldiers, bitter about racism and the feeling that their own government treats its enemy better than it does them, finds humanity in the small Tuscan village of St. Anna."

If you were a little apprehensive about the last casting announcement, the other ensemble players should sweeten the deal. Joining Luke are John Turturro, James Gandolfini, Michael Ealy (Barbershop 2: Back in Business), and two actors from Get Rich or Die Tryin', Omar Benson, and Tory Kittles. Considering the fact that the last three are young black men, I imagine they might be the other three soldiers.

Margot at the Wedding is a film torpedoed by its own self-indulgence. The film starts by offering us a thin premise -- a frosty, New England writer named Margot comes to town for the occasion of her quasi-bohemian sister Pauline's wedding to a slob -- and then more or less does nothing in the way of development, opting instead for ninety minutes of hints and innuendo. Nothing in this family dysfunction drama ever rises to the surface, even in the third act. Usually, you at least know what the director was going for, whether they succeeded or failed, but not here. Nicole Kidman and Jennifer Jason Leigh have to be given some amount of credit for doing the requisite character-building work, playing past the obvious physical dissimilarities between them and creating a workable, sisterly dynamic that can go from warm to freezing in an instant, but there's so little in the way of compelling events for them to react to that it's almost hard to maintain interest. Margot at the Wedding is a ninety minute film, with about twenty minutes worth of content.

Jack Black is the third lead as Malcolm, Pauline's soon-to-be-husband who has no job and no ambition to do anything except possibly commit infidelity. It's hard to say whether Noah Baumbach hired Black to play a thinly-disguised version of himself or whether he intended to have him do heavy lifting, acting-wise, because there's an odd mixture of both on display. There are moments when he's simply playing his part with none of his usual verbal or physical affectations, and there are other moments, such as in a late scene where he's supposed to be doing some crying, when he's unwisely allowed to lapse into a light version of Jack Black schtick. Both incarnations of his character seem to be a noticeably bad match for Jennifer Jason Leigh, by the way. Her natural gravitas doesn't mesh well with his absurdist persona, and whenever they are together on screen, there's a palpable sense of 'acting' going on that undermines Jason Leigh's seemingly honest attempts at character development. Theirs is just one of several of the film's actor pairings that don't seem very natural.

Not much to see here that wasn't covered in the trailer that we passed along a few days ago, but here is the first one-sheet for Nicole Kidman's next film, Margot at the Wedding. Directed by Noah Baumbach (The Squid and the Whale) the film focuses on a 40-something woman, played by Jennifer Jason Leigh, whose (apparent) spur of the moment decision to get married prompts the arrival of her disapproving sister, Margot, played by Kidman. The advance buzz on this movie is pretty good, with a few sneak reviews saying that the trailer is covering up more serious elements to the storyline, and that Kidman's performance is what will sell the movie. Jack Black plays the almost-husband of Jason Leigh's character, so I think it's safe to say that he'll be balancing out whatever serious intentions the trailer is masking.

Kidman is currently in Australia, shooting the Baz Luhrmann epic of the same name, and is loosely attached to two future projects -- Need, in which she may co-star with Naomi Watts and Wong Kar Wai's The Lady from Shanghai, which has gone through a lot of shifts over the past couple of years. I'm not up on the latest regarding the project, but something tells me you shouldn't hold your breath for it. As for Jennifer Jason Leigh, she'll next be seen opposite Alec Baldwin in Lymelife, a family dramedy about a marriage that is falling apart. Margot at the Wedding is currently scheduled to hit theaters on October 19.

Before I get to the meaty center of this news, let's go over John Turturro's career. He first came onto the scene years ago with an uncredited part in Raging Bull. From there, he popped up in many famous films from the 80's -- Desperately Seeking Susan, To Live and Die in LA, Hannah and Her Sisters, The Color of Money and Do the Right Thing. These stints led to a starring role in Barton Fink and from there, he took off, tasting in cinema from Jungle Fever to Transformers. He even kept Christopher Walken dancing with his recent directorial stint -- Romance & Cigarettes. But did you ever imagine that he'd be ... the evil Mouse King?

That's right, the nuts that Turturro will be cracking are of the Tchaikovsky ballet variety. He's signed on to the whopping $65 million dollar adaptation, Nutcracker -- The Untold Story, along with Dakota's little sister, Elle Fanning and everyone's favorite flamboyantly perky actor, Nathan Lane. Based on the story that inspired the ballet, we've got Fanning as the little girl who gets the doll in 1920's Vienna, and Lane as the guy who gives it to her. Russian director Andrei Konchalovsky adapted the story with Chris Solimine, and he will also direct it. But that's not all -- it's a musical. Tim Rice is whipping together lyrics to eight new songs from the ballet's score, and the art director behind V for Vendetta, Kevin Phipps, heading the visuals and sets. According to the director: "I have been trying to make this film for a very long time, and now that CGI and technical wizardry have come so far, I can finally realize my dream." So, he's a happy camper as the project moves towards its July 16th shooting date, but is this the answer to your dreams?