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We often tie our Tuesday Cinematical Seven picks with DVD releases, and this time, I was torn. On the one side, there was the out-to-lunch Hollywood science that allowed there to be identical cousins in The Patty Duke Show. But aside from the wonder of creating a girl with a crappy computer, a barbie, and some David Lee Roth personality, there wasn't much I felt could battle with cousins who look exactly alike. But then there's also the DVD release of the first two seasons of Felicia Day's famous web series, The Guild. Sold -- The Best Big-Screen Geek Girls.

Elisabeth's Geek Beat recently discussed what it means to be geek, and for the purposes of this list: It's on-screen characters who have smarts and delight in things that usual characters don't. They might love learnin', comics, computers, geek flicks, or even following around freaky people and collecting warped memorabilia. They're a little bit different, all sorts of kickass, and all sorts of worthy for the Best Big Screen Geek Girls. Check out the rundown after the jump and weigh in with your own picks!

Wow, I didn't even know there were THAT many. Holy crapola! The fine folks over at Rotten Tomatoes are currently counting down the top 50 TV adaptations of all time, in honor of both Get Smart and Sex and the City. Before we mention a few, here's how they played it: "... these movies are remakes of TV series (i.e. Starsky and Hutch), mini-series (Pennies from Heaven), or sketches (The Blues Brothers). We've also included big-screen adaptations that utilize the series' principal cast members (the Star Trek movies, the Adam West Batman). We've omitted films that, despite having TV incarnations, are derived from other sources (thus, no Superman), but have included others (like The Addams Family) that are best remembered as TV shows." In other words ... they mean business.

Down toward the bottom, you have films like Strangers with Candy, The Rugrats Movie, Josie and the Pussycats and The Naked Gun 2 1/2. I won't reveal their number one pick, but the top ten includes memorable favorites like The Simpsons Movie, The Fugitive ("You find this man!"), Serenity and South Park: Bigger, Longer & Uncut.

I'm just impressed they managed to throw together 50 half-decent TV-to-Movie adaptations. That, in and of itself, has to be worth some sort of Emmy nod (or would it be an Oscar nod?). Check out the entire list over at Rotten Tomatoes ... and let us know your favorites below.

Whether or not shows like Aqua Teen Hunger Force or The Simpsons succeeded in translating their television dynamics to the big screen depends on your point of view, but the release of Speed Racer this weekend raises a more specific question about the viability of turning an animated series into a live action spectacle on the big screen. The Adventures of Rocky and Bullwinkle and Underdog both suggest how this goal can go wrong -- namely, by imploding on its absurd conceits. You may disagree with the inclusion of some of the following titles, all of which culled their material from animation, but it's fair to say that each of them takes its subject matter at face value, allowing the natural ingredients of the original sources to remain intact. Well, maybe not Super Mario Bros., but that one is a special case (fire away, if you must). Until somebody makes an Animaniacs movie with real actors, I'm sticking to this list.

1. Popeye (1980)

Robert Altman's offbeat ode to the famous Fleisher cartoon starring the spinach-eating strongman and his darling Olive Oil is the great misunderstood work of the director's career. Robin Williams and Shelley Duvall manage to bring utterly ridiculous characters into a realm of believability that you could never imagine when watching the show. Suddenly, Popeye made sense -- goofy, almost surreal sense, but sense nonetheless -- in the real world. Thanks to veteran adult cartoonist Jules Feiffer's screenplay and a soundtrack so catchy Paul Thomas Anderson borrowed from it twenty years later in Punch-Drunk Love, the classic status of Popeye can't be denied.

As my wife said, it's just not the Oscars if there's nothing to complain about. However, I was impressed that two of the year's toughest films, Paul Thomas Anderson's There Will Be Blood (389 screens) and Joel and Ethan Coen's No Country for Old Men took the most nominations. Typically, the Academy is attracted to much less challenging and easy-to-categorize films (like Atonement). Both films are fairly bleak in their vision, but I suspect There Will Be Blood will sneak out ahead for two reasons: it's an epic, and epics almost always win. And, to quote a character from Sunset Boulevard, it "says a little something" about the current sociopolitical climate.

One of the biggest controversies cropped up over the foreign film category, which came up with five nominations that no one has ever heard of. (The Counterfeiters opens sometime next month and Mongol opens in June.) Not to mention that they ignored top contenders like 4 Months, 3 Weeks and 2 Days (opening this week) and Persepolis (30 screens). Thankfully the outrage has begun discussions on changing the stupid, ancient rules for the category. Currently these rules require each country to submit one film, and multi-national films, such as The Diving Bell and the Butterfly (107 screens), to be disqualified. A small group of "specialists," rather than the Academy as a whole, votes on the small list of films. The documentary category was less obscure, and although I saw 19 documentaries in 2007, I only managed to see two of the five nominees, No End in Sight and Sicko. I have an Academy screener for Operation Homecoming that I hope to catch soon, and Taxi to the Dark Side (1 screen) is screening for Bay Area press next week.

This will be my third time crossing over into a new year while writing for Cinematical, and I've never once shelled out a top ten list. And every year, as January approaches, I always say to myself, "This will be the year I write a top ten list." Recently, it was more like, "You're the editor of the friggin' site -- you need to write a top ten list. It's, like, mandatory and punishable by death in some states." You'll notice that Cinematical has officially kicked off our year-end extravaganza; it began earlier this month with our Hot and Lame in 2007 lists, and now we'll end the year allowing several of our writers to give their top picks of 2007 (including a few posts on the worst films of the year as well). But when I looked at everything we were doing, I noticed one element was absent: Awesome Awards! So, instead of giving you another top ten list, here are my official awesome awards for 2007:

The Awesome Award for Best Action Scene Featuring Uncomfortable Male Nudity Goes to ...

The bath house scene in Eastern Promises -- David Cronenberg's Eastern Promises has wound up on a lot of year-end lists, and will most likely find a spot in the best picture category at the Oscars in 2008, but when you talk about the film there's one scene that immediately comes to mind: the bath house scene. Viggo Mortensen plays a guy with ties to the Russian mob, and when a couple of dudes are sent to off him at a bath house, we get one of the best action sequences in all of 2007 ... and Viggo is completely naked the entire time. It's extremely uncomfortable and wildly exhilarating to watch all at the same time.

The Awesome Award for Best Scene Featuring a Nerd Attempting to Woo the Girl Next Door Goes to ...

Sam Witwicky gives Mikaela Banes a "ride" in Transformers -- You won't see this film anywhere near a top ten best-of list this year, but Michael Bay's Transformers did include one genuine, well-written, cutesy moment early on in the film when Shia LaBeouf's character attempts to "pick up" Megan Fox on the side of the road in his new set of wheels and finds the yellow and black clunker has a mind of its own. While Fox is hardly the girl next door (more like the hottie on your next door neighbor's Playboy calendar), it was fun to watch LaBeouf reacting to this bizarre situation, while still trying to make sense of it and woo the girl of his dreams. In a film full of giant f**king robots, this was the most human scene ... if that makes any sense.

Tonight when I look across the river at the Empire State Building, it's lights will be yellow. No, it won't represent the U.S. Open (which usually gets "tennis ball yellow") or support for the troops (ala yellow ribbons). The yellow color will be in honor of The Simpsons Movie on DVD from Fox Home Entertainment. In the thirty years that the ESB has featured colored lights, this is the first time the colors have been a movie tie-in. And it's odd, because The Simpsons Movie doesn't really have anything to do with New York City. Nonetheless, Fox and its yellow-skinned family have taken over the city in a marketing blitz titled the "Simpson-izing of Manhattan." In addition to the ESB lights, there will be a Simpsons on Ice show at Bryant Park, yellow-jacketed street teams (handing out fliers for the DVD, I'm sure) and giant inflatable Homers. Unfortunately, there will be no specially designated street vendors selling Khlav Kalash and Crab Juice.

The event in general follows the city-wide stunts and activities planned in the past for Mission:Impossible III and Spider-Man 3, and hopefully won't be too annoying for actual New Yorkers, who should be able to ignore anything relating to movie-making or marketing in Manhattan these days. The only thing I hope for the sake of people working in Midtown is that those yellow-jacketed street teams aren't as aggressively obnoxious as the Spider-Man 3 flier guys (as if walking through Herald Square this time of year isn't trying enough). I also hope that the ESB doesn't make it a regular thing to lease out its lights to Hollywood -- unless the tied-in movie was at least shot in or has something to do with the Big Apple (for the lighting calendar go here).

The Golden Globe nominations were released this morning, and I take it you first read all about it right here on Cinematical, right? Because you love us, right? Anyway, there weren't any major surprises to be found. I'm happy to see The Simpsons Movie land a nod for best animated feature, and Walk Hard: The Dewey Cox Story came away with two nods ... which should help bolster its box office take. Same goes for the other films on the list that still haven't arrived in theaters; most notably Sweeney Todd, The Great Debaters, There Will be Blood and Charlie Wilson's War. Thankfully, Amy Ryan was thrown a bone for her excellent supporting performance in Gone Baby Gone (though the film as a whole was missing from the other, larger categories) and -- whaddya know -- Juno got a whole lotta love.

Atonement looks to be this year's "Best Film That No One Will See," while it almost sickens me to see John Travolta (for his drag performance in Hairspray) listed in the same category as Javier Bardem (for No Country for Old Men). The best motion picture drama category features a whopping seven films, though Michael Clayton and The Great Debaters probably could've been left off. Shockers? How about Don Cheadle coming away empty following his terrific performance in Talk to Me? Personally, and I know a lot of people will argue against this, I thought Joaquin Phoenix in Reservation Road was better than Viggo Mortenson in Eastern Promises. How many lines did Viggo actually have in that film? Seven? I imagine Across the Universe hypnotized people into believing it belonged in the best motion picture (musical or comedy) category, with all its wacky colors and what not. Once is not even mentioned, well, once. And where is the nomination for Waitress? Did I miss it. Oh wait, it's not there. But Cate Blanchett is there -- twice -- for both I'm Not There and Elizabeth: The Golden Age. You're telling me both Hairspray and Across the Universe were better than Waitress? And where's Zodiac? Do you agree with this? Should we write a letter?

So, what do you think?

And for much much more on this year's Golden Globes, be sure to check out Moviefone's official Golden Globes page.

In what seems like a repeat of last year, the 2008 Annie Award nominations include a Pixar movie and a movie about penguins. The top contenders for the 2007 Annies, which recognize the best in animation, were Cars and Happy Feet. The former ended up winning the big award, Best Animated Feature. However, a couple weeks later it was Happy Feet that won the corresponding Oscar, so the Annies can not be looked at to predict the Academy's decision. In 2008, though, the two awards should actually match. The only real contender for both the Annie and the Oscar is Pixar's Ratatouille. There isn't much chance of this year's penguin movie, Surf's Up, winning either award. If there's any minor competition for Pixar, it's from Persepolis. The other two nominees for the Best Animated Feature Annie are Bee Movie and The Simpsons Movie.

Ratatouille was the leader in nominations at 13, while Surf's Up received the second highest amount with 10. In addition to the top award, the two films are competing in the categories for writing (also competing: Simpsons and Persepolis), storyboarding (also competing: TMNT; Meet the Robinsons; Bee Movie), production design (also competing: Beowulf), directing (also competing: Shrek the Third; Simpsons; Persepolis), character design (no other competitors), character animation (no other competitors, but Surf's Up received two mentions here) and animated effects (also competing: Spider-Man 3; Disney short How to Hook Up Your Home Theater; Ratatouille received two mentions here). One category that Bee Movie seriously missed is voice acting, which features three nominations for Ratatouille -- for Janeane Garofalo, Ian Holm and Patton Oswalt.

One thing that is interesting about the Annies is how the awards can be distributed to many different movies. Last year, Over the Hedge won the directing, storyboarding and character design categories, Flushed Away won in writing, voice acting, animated effects, character animation and production design categories and Happy Feet took away no awards. Then again, the year before, Wallace & Gromit in The Curse of the Were-Rabbit picked up ten trophies and then went on to pick up the Academy Award. So, the 2008 Annies could go any number of ways.

I'm thankful for a lot of things this year, my son being first and foremost, but I wouldn't get too far down the list without coming to movies and food, and then food in movies. Showing characters eating or relating to food in some way can be a quick and easy way to capture a magical moment. You can reveal something about a character, you can take a break from an otherwise hectic narrative, or you can simply bask in the sheer, physical beauty of food, the same way another movie might show characters dancing. The following is my second annual "thankful" list of food scenes in current movies playing on 400 screens or less.

I'm thankful for the use of the term "savory snacks" in Wes Anderson's The Darjeeling Limited (285 screens). When Jack (Jason Schwartzman) returns from having made love with the Indian stewardess (Amara Karan) in the train's bathroom, his brothers ask: "where's our savory snacks"? I'm thankful for the adorable Sarah Silverman and the way she sighed her way through the line "I want someone to eat cheese with" in I Want Someone to Eat Cheese With (3 screens). And I'm thankful for Scarlett Johansson eating potato chips in bed in The Nanny Diaries (26 screens) -- her only way of dealing with the end of a horrible, horrible day.

With the writer's strike in full swing, I thought I'd pay tribute to a few of the writers who currently have films in theaters. Quite frankly, you really have to admire some of them. Take Allison Burnett, who adapted Feast of Love (2 screens) as well as this year's earlier Resurrecting the Champ. Burnett received very little love for either movie, but consider how hard it must have been to cut down a novel and expand a newspaper article at the same time? It makes my head spin. It's also quite impressive that Burnett was able to work again after his earlier script was turned into the universally panned film Autumn in New York (2000). But the thing that impressed me most of all about Burnett is his first produced script, Bloodfist III: Forced to Fight (1992), a vehicle for "Z" level action star Don 'The Dragon' Wilson. This is from a guy who studied playwriting and has published a novel. I can only imagine what it must be like to sit down and actually write something like that. Do you tape the paycheck on the wall next to your desk and keep staring at it? Good for Burnett that he made it out of that hole.

Then there's The Simpsons Movie (96 screens), which has at least eleven credited writers, and possibly more who added material without credit. Among them we have David Mirkin, who directed one of my all-time favorite guilty pleasures, Heartbreakers (2001), and James L. Brooks, who won an armload of Oscars for Terms of Endearment (1983). Most of the others are from TV, and I'd like to think they wrote this movie the way they might have written a half-hour episode: by sitting around a big table and throwing out ideas and laughing a lot. Those writer rooms are usually decorated with stuffed animals and novelty items, as well as plates of donuts and other snacks -- perhaps some kind of air freshener as well. It makes me all warm just thinking about it.