Is Jack Black replacing Matt Damon in the Bourne franchise? Thankfully, no, however The Hollywood Reporter tells us the funnyman has teamed back up with Kung Fu Panda writers Jonathan Aibel and Glenn Berger for a live-action comedic take on The Bourne Identity. In the film, Black will play some dude who washes up on the shores of Cuba with no memory of who he is or how he got there. Of course, he automatically believes he's a superspy (thanks Hollywood!), though nothing could be further from the truth. Sounds like a funny premise -- but is Black the right one for the role?

Meanwhile, Sky High's plant-loving sidekick, Danielle Panabaker, is going back to school. According to The Hollywood Reporter, she'll star in Chuck Russell's upcoming sci-fi action film called Prodigy. Based on Dave Kalstein's book, the film focuses on an elite prep school that takes teaching to the extreme -- they make students into geniuses with a "drug-and-diet regimen." Panabaker will play the smartie daughter of a senator who questions the powers that be. This might be particularly bad for those powers since, as Publisher's Weekly describes it, the conditioning makes these kids "ninja-assassin geniuses."

Last but not least, there's the talented Michael Sheen. Putting aside retro politics and The Music Within, Variety reports that the actor has picked up two new gigs. First, there's Sam Jackson's Unthinkable, which dips into the ethics of torture and terrorism, and then comes a little Alice in Wonderland. Unfortunately, there's zip-all on who he's playing in these films. At least that leaves us free to speculate -- who on Earth will Sheen be in the world of Mad Hatters and White Rabbits?! Not Tweedledee and Tweedledum -- that's Matt Lucas, it seems.

It's difficult (and a little silly) to try and judge an entire quarter-year's movies in one lump sum -- but that's what we seem to do at the end of every Summer Movie Season. That's when all our excitement, expectations, and final reactions come colliding together and we find ourselves thinking: "Was I actually looking forward to that piece of crap for four months?" But to me, each summer is like a walk through a carnival: Some of the attractions dazzle me, others simply don't interest me, and a few are just a waste of tickets. But once early May rolls around, I'm always ready for another trip to the Hollywood Movie Carnival. (It's where you find all the tentpoles!)

So while I'm elated to greet the upcoming season of "prestige movies," there's little denying that we've had one hell of a good summer, cinematical-ly speaking. I'm not talking about box office grosses, because frankly that stuff is so unimportant. What matters is that we got some good flicks, a few pieces of mindless (yet well-made) popcorn adventures, and even a few great films that will enjoy a very long shelf life. So while I'm not exactly sure that 2008 represents the finest Summer Movie Season of all time, I'd definitely say it was more good than bad. But if you can think of a summer that was better than this one, you know where to throw your comments. (In the comments section.)

Could a cute children's movie about an adorable furry animal ignite change in a country noted for its official cultural restraints? Kung Fu Panda has enjoyed robust returns at the Chinese box office, which prompted a top cultural advisor to bemoan: "Why didn't we make such a film?"

As reported by Variety, Wu Jiang, a key member of the CPPCC Standing Committee, noted: "The film's protagonist is China's national treasure and all the elements are Chinese." The committee recommended that the government "relax its control in order to accelerate the reform and opening up of the cultural market and to enhance China's cultural influence in the world."

Though China produces hundreds of movies every year, most have been described as "stodgy propaganda pics" -- check out a recent post by Grady Hendrix at Kaiju Shakedown to see a few examples -- and only a select few achieve visibility at international festivals. Director Lu Chuan (Kekexili: Mountain Patrol and the upcoming Nanking Nanking) says the problem lies with the government itself, which stifles the creativity of Chinese filmmakers. He wrote in China Daily that he tried to make an animated film for next month's Olympics in Beijing but finally gave up: "I kept receiving directions and orders on how the movie should be like. The fun and joy from doing something interesting left us, together with our imagination and creativity."

Will the Chinese government be making any changes soon? Don't count on it. Sun Zhonghuan, another member of the CPPCC Standing Committee, says that Hollywoood studios have another big advantage: Kung Fu Panda's $130 million budget is nearly 100 times the cost for an average Chinese film. "We might have the ideas," he said, "but we lack the structure to realize them."

A couple of weeks back, I wrote about the imminent release of three-quel Public Enemy Returns. Hopes were high that the Korean-made crime action comedy would enjoy a measure of success and thus buoy local filmmakers; Korean audiences have been avoiding local product for months.

Public Enemy Returns did indeed have a bountiful opening, grossing more than $7.2 million in its premiere weekend and smashing Get Smart, according to Box Office Mojo. In its second weekend, though, it fell victim to international action powerhouse Wanted, demonstrating that curving bullets and the even more curvaceous Angelina Jolie need fear no borders. Still, Public Enemy Returns has nothing to be ashamed of -- it made $4.7 million to Wanted's $5.4 million -- and provides hope that upcoming Korean movies such as The Good, the Bad, and the Weird, Sunny, and Eye for an Eye will find favor locally in the coming weeks.

Meanwhile, Kung Fu Panda has been warmly embraced by China, in the words of The Hollywood Reporter. With $14 million in box office receipts in its first ten days, the animated animal adventure has already been declared "the most successful foreign animated film in China," as claimed by a government news agency. If accurate, that gross would place the film practically neck and neck with Iron Man and the Chinese-made Kung Fu Dunk for the #3 box office position for the year so far. I haven't seen Panda yet; is this is a good thing or a bad thing from a cultural and/or cinematic standpoint?

Notwithstanding the best attempts of some to smear Wall-E as being somehow hypocritical or disdainful of consumers, the little robot gave Pixar the third-best opening weekend in its history, behind The Incredibles and Finding Nemo (and roughly tied with Monsters, Inc.). Its $62.5 million take was on par with expectations, though the lack of the usual family film Saturday and Sunday bump suggests that Wall-E attracted an impressive number of kidless Friday night moviegoers. And that bodes well for the weeks to come: the movie is quite sophisticated and not all that toddler-friendly, so word-of-mouth among adults will be key.

Given Wall-E's apparent cross-demographic appeal, one might have expected Wanted to struggle a bit as the weekend's "adult counterprogramming," but nothing doing: at $51.1 million and a strong second place, we may have a new franchise on our hands. The two combined to make this the strongest three-day weekend of the summer at the box-office overall; in fact, to find a higher combined top 12 gross, we have to go back to Memorial Day 2007 and the debut of Pirates of the Caribbean: At World's End.

The rest of the chart looks unremarkable. The Love Guru dropped almost 61% to 6th place, prompting the unsurprising conclusion that the Guru Pitka didn't connect with summer audiences. The Incredible Hulk continues to run behind Hulk, ruling out the possibility that it will have the staying power to do appreciably better than the embattled 2004 film. Wall-E gave Kung Fu Panda its first significant hit, dropping it to 4th place. Indiana Jones will break $300 million by the end of Monday, if Sunday's final numbers don't push it past the milestone. And The Happening looks like it will top out around $70 million.

The full numbers after the jump.

Over the weekend, Paramount Pictures International went over the $1 billion mark, reportedly thanks to the success of its distribution of summer blockbusters Iron Man ($210 million), Indiana Jones and the Kingdom of the Crystal Skull ($350 million) and Kung Fu Panda ($41 million), as well as earlier releases The Spiderwick Chronicles ($91 million), Cloverfield ($90 million) and No Country for Old Men ($86 million). Paramount is the first studio to reach a billion bucks in international grosses this year, and it did so faster than in 2007, when it didn't top the figure until late July.

But is it really fair for Paramount to be bragging so much? On her Variety blog, Anne Thompson weighs in on the news, pointing out that all three of the studio's summer blockbusters were produced outside the main studio. Indiana Jones was Lucasfilm; Iron Man was Marvel; Panda was DreamWorks Animation. Of course, Paramount deserves a lot of credit for the marketing of these films, but Thompson wonders what it will be like if DreamWorks really does break away soon. Fortunately it has a good looking slate for the next few years, thanks to next year's toy-based titles Transformers: Revenge of the Fallen and G.I. Joe, and then the next four or five Marvel Studios releases in 2010 and 2011.

Welcome to another edition of Insert Caption -- the game we've heard actually gets you smarter-er! Last week, we asked you to whip up a little somethin' somethin' for a photo from the new flick Kung Fu Panda. And that you did! Congrats to Tommy L. for reminding us that the game Duck Duck Goose amongst a group of animated Kung Fu fanatics might not be the best idea.

1. "I don't think we should play Duck Duck Goose. It just ... doesn't feel right." -- Tommy L.

2. "So ... these pants do make me look fat, then." -- Mike Z.

3. "Panda, this is an intervention. You're killing yourself with food!" -- Brian

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This week, we're calling in all our best agents for a very special Insert Caption for the movie Get Smart (in theaters June 20). Dun dun dun! Starring Steve Carell and Anne Hathaway, we're looking at a big-screen remake of the popular '60s television series about two agents (one clumsy, one competent) who must battle the evil forces of KAOS in order to save the world. And for your part, three winners will take home one fingerprint kit, one globe beach ball, one Get Smart mug, one pair of binoculars, one spinner key ring, one Get Smart baseball cap, one Get Smart journal and one push button. Think you have what it takes make us laugh? Well then, Agent Caption-er, sound off below ...


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That's a bit misleading there, in the title; Adam Sandler's You Don't Mess with the Zohan wasn't able to claim the weekend's top spot over Dreamworks Animation's Kung Fu Panda, but a) no one was really expecting it to do that, and b) Zohan's $40 million opening weekend is at least par for Sandler, roughly tying Click's opening weekend, and beating I Now Pronounce You Chuck and Larry by a handy $6 million. Sandler has only done measurably better with The Longest Yard, Anger Management and Big Daddy.

Panda, meanwhile, is an unadulterated victory. Its $60 million weekend beats everything in the Dreamworks Animation canon except the two Shrek sequels, and wouldn't have been a disappointment for any Pixar film. Good reviews and a witty, appealing ad campaign certainly helped, though I was kind of hoping that airing that insufferable Jack Black "silence is golden" intro in AMC theaters for the past, oh, eight months, would have backfired.

The 62% drop for Sex and the City shouldn't surprise anyone, though the folks at New Line/Warners probably had a reasonable hope of a bit more staying power. The 55% drop for The Strangers isn't too horrendous, and the $38 million cume on the micro-budgeted horror flick is a big win for Rogue regardless. Cinematical darling The Promotion debuted on 6 screens to a respectable but unspectacular $28,900 ($4,816 per screen).

Check out the top 10, and a look forward to next week, after the jump.

Welcome back to another edition of Insert Caption -- the online game that karate chops all its competition in half. Last week, we asked you to give us captions for a photo from the new creepy flick The Strangers. Serious props go out to Kristi S. for cracking us up with one of my personal favorite winning captions of 2008 so far. (And so what if I wound up Netflix-ing Armageddon the other night because of Kristi? Is that so wrong?)

1. "Hurry up!!! Armageddon is on TBS tonight and I don't wanna miss a thing!!!" -- Kristi S.

2. "Liv: Take The Deal!
Scott: No Deal! No. Deal." -- Sam S.

3. "Mr. Tyler, put down the ax and allow me to explain. SHE was the one hitting on ME." -- Dodd A.

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I don't know if you're aware, but this week everybody (including we here at Cinematical) was kung fu fighting. Oh yes, those cats were fast as lightening. In fact, it was a little bit frightening. And ... I'll stop now. Kung Fu Panda has finally arrived in theaters, and we're celebrating by handing one grand prize winner one cast-signed Kung Fu Panda movie poster, one Kung Fu Panda "I Can Find It" book, one stuffed "Po" plush, one pack of Kung Fu Panda Hubba Bubba gum, one Kung Fu Panda McDonalds Happy Meal toy, one Kung Fu Panda "Tigress" pez dispenser and one HP/Kung Fu Panda activity CD. Phew. Get all that? Additionally, two runners-up will get the cast-signed movie poster. Sound off below kung fu caption-ers!



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Jack Black, whose Kung Fu Panda opens this week, seemed to move awfully quickly from rising star to overexposed. His always-moving, rock 'n' roll persona seems to be everywhere, turning up in several movies a year, always pitched at the same high level. It's all too easy to concentrate on his most annoying performances, as lazy fast-talkers, or selfish schemers in films like Saving Silverman, Shallow Hal, Envy and The Holiday. But a closer look at his filmography shows more than a few samples of the Jack Black that we initially liked and elevated to stardom.

1. High Fidelity (2000)
This was the first time Black came onto my radar, although he had previously been in at least 30 other movies and TV shows. It's arguably the first time he tapped into the Jack Black persona for the length of an entire movie, and he was nicely fitted in the mix between cool, confused John Cusack and Todd Louiso (as the withdrawn music nerd). His was a supporting role, rather than a lead, which is the best place for a character actor of his caliber. Moreover, Black played a nerd with a wide-ranging knowledge of music, implying that he was at least using his brain for something (as opposed to many of his other films). As for his performance, he showed enough natural, unhinged exuberance (especially in his surprise rendition of "Let's Get It On") that, frankly, he deserved an Oscar nomination.