Citing an unnamed source -- you know, one of those reliable anonymous types -- Showbiz Spy is reporting that Michelle Williams plans to make a movie about her late ex, Heath Ledger, in order to provide a record of him for the former couple's toddler, Matilda. No details have been released yet, which leaves a lot of questions up in the air. Is it going to be a straightforward documentary? A biopic? Some mixture of both? If this source is to be trusted, it seems unlikely that Williams simply wants to assemble family footage to screen privately for her daughter when she gets older. A Ledger film made for general audiences would probably reveal his unrealized career intentions and help solidify his posthumous James Dean-like reputation, but it's hard to say what approach Williams would want to take, since we don't even know what role she'll have in the production (producer? director? consultant?).

Based on the skimpy information provided by Showbiz Spy, Williams' idea sounds somewhat similar to a recent documentary project that's been riding the festival to great acclaim in recent months: Kurt Kuenne's devastating Dear Zachary: A Letter to his Son About His Father, which begins with the documentarian planning to collect the memories of his murdered friend for the departed man's young child (the story takes a shocking turn after the first hour or so). Whatever the final product, surely Williams wants to avoid letting E! True Hollywood Story have the final say on Ledger's myth. Who can blame her?

Just over a week ago, Jessica shared a few far-off, behind-the-fence pics of Ashecliffe, the project formerly known as Shutter Island. There was a shot of Leonardo DiCaprio and Martin Scorsese, and now, over at Just Jared, there are close-up peeks of Leo, plus cast members Michelle Williams and Mark Ruffalo. If you remember, this is the 1950s drama about a US Marshal who investigates the disappearance of a murderess from a hospital for the criminally insane, a woman who might be hiding on Shutter Island.

JJ pointed out that it looks like Ms. Williams could be pregnant in this picture, which would put a whole sadder spin on her character's story arc. As Patrick pointed out when the actress signed up for the role -- Leo's character (the US Marshal) "is grieving over the recent death of his wife, who was killed in a fire by one of the inhabitants of the facility."

Between this and Incendiary, Williams has a lot of familial death on the way, which is even eerier considering the events of this year. But luckily, she's also got films like Synecdoche, New York to balance things out.

I'll always remember reading a review of Casino where a reviewer said that even a mediocre Martin Scorsese movie is better than the 'best' movie made by any other director. That particular piece of wisdom has always stuck with me whenever I was plunking down my hard earned dollars on a Scorsese film that wasn't necessarily 'my thing' -- cough, Kundun, cough. So with that in mind, you can be sure that I'll be there on opening day for his new thriller, Ashecliffe (formerly Shutter Island). The Boston Herald recently scored some pictures of star Leonardo DiCaprio and Scorsese on the set of the period thriller, with the added bonus of getting to see DiCaprio brandishing some firearms (thankfully, it was for the movie).

The film is based on a novel by Dennis Lehane (Mystic River), and centers on two U.S. marshals who are sent to investigate the disappearance of a patient from a hospital for the criminally insane. Things start to go downhill when a riot on the island has them trapped, and not to mention some events that are outside of the realm of the everyday. Mark Ruffalo joins the cast as DiCaprio's partner, and Michelle Williams also stars as DiCaprio's wife. The film immediately brings Spellbound to mind, and knowing what a Hitchcock fan Scorsese is, I will look forward to seeing Scorsese work in a few of those 'master of suspense' touches.

Ashcliffe is scheduled to arrive in theaters on October 2nd, 2009.

Director Kelly Reichardt's much-anticipated follow-up to her critically acclaimed 2006 fest circuit hit, Old Joy, continues to show Reichardt's remarkable gift for classically simple, deeply engaging storytelling. Wendy and Lucy is the story of Wendy (Michelle Williams), a down-on-her-luck girl who's hoping to turn things around for herself with a summer job at a fishing cannery in Alaska.

Wendy's making the trek from Indiana to Alaska in her beat-up Honda, accompanied only by her dog, Lucy, and about $600 to make the entire trip. When her car breaks down in a small Oregon town, Wendy is forced to make a series of increasingly difficult choices, and to rely upon the kindness (or not) of strangers to resolve her plight.

Early this morning, Charlie Kaufman's newest film, Synecdoche, NY, screened for press, and man, is that film two hours of mental-mindf*ck. I'm not the only critic here wishing the fest had screened this film last week; everyone is way too fried at this point to really sink their teeth into a film requiring this level of intellectual attention, and most of the folks I talked to after the screening felt they really need to see it at least once more to really wrap their minds around it.

Synecdoche: n. A figure of speech in which a part is used for the whole (as hand for sailor), the whole for a part (as the law for police officer), the specific for the general (as cutthroat for assassin), the general for the specific (as thief for pickpocket), or the material for the thing made from it (as steel for sword). -- American Heritage Dictionary

The directorial debut of screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Adaptation), Synecdoche, New York is a sprawling, messy work of inspired brilliance and real humanity, a film that enthralls and affects even as it infuriates and confounds. Kaufman gives us parts, and the whole; he gives us the general and the specific. The plot is, on the surface, about a theater director, Caden (Phillip Seymour Hoffman), whose work, and life, in upstate New York have both fallen into a state of stasis relieved only by hints of slow decay. His marriage to Adele (Catherine Keener) is a qualified success: somewhat supportive, somewhat loving, somewhat successful, sustained in part by their daughter Olive (Sadie Goldstein). And just as Caden's life falls apart personally -- Adele, a painter, takes Olive to Berlin for a gallery showing and never comes back -- he also earns a "Genius" grant, and embarks on an ambitious, immersive theater piece that'll be his masterwork.

But that meat-and-potatoes synopsis does not, and can not, fully explain what Kaufman covers and examines and explores and offers in the film -- partially because of the fluidity of time and space and art and reality in the story, and partially because of how Kaufman wedges every frame full of set design, side notes, visual tricks, subtext, , deadpan jokes, prosthetic makeup, voice-over, post-modern inventions and old-fashioned melodrama. Synecdoche, New York veers away from reality fairly early in its journey; indeed, there's a question of if it even starts anywhere near there to begin with. Caden's obsessed with the decline of his physical body as he ages, poking at bumps, examining anomalies, concerned with disease.

I'll have a full review up of Kelly Reichardt's new film, Wendy and Lucy, up later, but a quick note on tonight's screening of the film. Reichardt made 2006's critically acclaimed Old Joy, and Wendy and Lucy was one of the films I was most looking forward to checking out here at Cannes.

The big movies are great, but the joy of seeing a smaller film like this at a fest like Cannes is one of the best parts of attending this festival. All I'll say for now is that I liked Wendy and Lucy even better than Old Joy, and Michelle Williams's performance (which is pretty much the entire film) is great.

Williams, looking absolutely lovely in a lacy gold dress, showed up briefly in the Salle Debussy theater with the cast and crew to wave at the crowd from the stage. Audience response to the film was positive, though I didn't really expect any boos with that much of the cast, and particularly Williams herself, in attendance.

I don't believe she stayed for the screening, though -- the pic above was taken on the red carpet for the premiere of Adoration, which was screening tonight next door at the Lumiere (with Cinematical's James Rocchi covering the red carpet for IFC), so I expect she quietly slipped out when the lights went down to attend that.

Upcoming: Review of Atom Egoyan's Adoration; tomorrow is the screening of Charlie Kaufman's Synecdoche, NY, and the Sony Pictures Classic lunch/roundtable for Adoration, followed by Wim Wenders's The Palermo Shooting.

Deception, starring Hugh Jackman and Ewan McGregor, is being sold as an "erotic thriller." Any experienced cinemagoer knows that this phrase, which promises two things, usually indicates a film that will fail to deliver either. American studio films either tiptoe around sex or stomp on it with clown shoes, and the modern thriller often relies on activities that are not, and cannot ever be, thrilling -- electronic funds transfers, typing, mouse-clicking. Deception, directed by Marcel Lanegger from a script by Mark Bomback, begins as Ewan McGregor's lonely auditor Jonathan McQuarry labors late into the night in a huge conference room, vast windows looking out over the lights of the city. Shut in, walled-away, cut-off, Jonathan is worse than miserable; he's invisible. But then Hugh Jackman's brash, blunt Wyatt Bose waltzes in, makes some small talk, sparks up a joint. It's not what Jonathan's used to. Then again, he hates what he's used to.

You know that feeling you get when something looks so familiar but you just can't put your finger on it? Well, that's how I felt after I saw the latest poster release for Marcel Langenegger's, Deception (see to the right, and click to enlarge). After a furious search to try and figure out just what it was about the poster that was so familiar, I came up empty. Luckily, the sharp eyes over at the Ropes of Silicon boards noticed the poster was almost identical to The Prestige.

Ewan McGregor stars as Jonathan, a buttoned down accountant who is swept up in a mysterious sex club called 'The List'. Hugh Jackman plays his lawyer friend who leads Jonathan down the 'rabbit hole' involving a missing girl and a million dollar fraud. There aren't that many differences between this latest poster release and the previous release -- in fact, there are only a few minor differences. The most noticeable being that Jackman had a lot more real estate on the first poster than he does now. On the upside, we actually get to see McGregor's face this time around.

After watching the trailer, I'll admit that there is no way I would see this film if Jackman and McGregor were not starring (it just has a late night, skinemax vibe). Plus, the film bears a striking resemblance to the 1990 thriller Bad Influence (it even looks like McGregor borrowed James Spader's glasses). Deception is set for release on April 25th, and I can't help but wonder if Fox released this poster in hopes of drumming up some much-needed business.

The trailer for Deception, the much-renamed thriller starring Hugh Jackman and Ewan McGregor has finally hit the net -- just as I was beginning to wonder what ever happened to the movie. The embedding links from MSN are not working, so you'll have to go watch it here. If that doesn't work, the official site also has it. McGregor plays an accountant, who is introduced to an exclusive sex club by his lawyer friend, played by Jackman. Of course, not everything is as it seems -- and poor McGregor finds himself a prime suspect in a woman's disappearance.

I won't say any more than that, as I think too much is already given away in this trailer. It has a suspiciously slick look, suggesting it might have been straight-to-DVD if not for the star power. I'm trying to sound critical, because my attention was admittedly diverted by the combination of Jackman-McGregor-sex club. It's amusing to think either of them would ever need one.