The always-enjoyable Dennis Farina was arrested when a loaded gun was found in his carry-on luggage at Los Angeles International Airport on Sunday. Farina, who's best known for being awesome in everything, was caught with a .22-caliber handgun in his briefcase. The actor claimed he forgot he had it on him when bail was set at $25,000, but then raised to $35,000 when cops learned the gun wasn't registered. 1) How do you accidentally forget that you have a loaded gun in your briefcase? 2) Why are you carrying around a loaded gun that's not registered? 3) Are there a lot of people out to get Dennis Farina -- so much so that he has to bring an unregistered loaded gun to the airport?

And when the airport security asked Mr. Farina if he was traveling with a gun in his briefcase, did the actor turn and deliver one of his trademark replies? "You kiddin' me? What? I can't carry a f**kin' gun in this country anymore. Look, Idiot #1, tell Idiot #2 that I'm Dennis F**kin' Farina and I can do what I want. You gots?"

Speaking of ... we need to get Midnight Run on Blu-ray. Can somebody make that happen? They were smart enough to stick that sucker on HD-DVD, but I want to watch one of my favorite comedies ever on Blu-ray, like, now. And then I want them to include a commentary track from Farina, and I want him to talk about getting arrested in an airport with a loaded gun. I'd love to hear what that sounds like.

Sound off ... your favorite Dennis Farina role? (For me, it's a toss up between Midnight Run and Get Shorty.)

Ever the astute observer, both of movies and of real life, Roger Ebert posted on his shiny new blog today a great post wondering what Hillary and Bill: The Movie might look like. Ebert talks about great political movies of the past, especially noting two of my own faves, Barry Levinson's Wag the Dog and Warren Beatty's fantastic Bulworth (two of the best political movies ever made). He ponders what a movie -- a narrative, not a documentary -- following the private moments of Hillary and Bill Clinton, during the last days of this seemingly endless primary campaign, might look like. Ebert writes:

Yet there must have been private moments of despair. The two realists, as able as anyone to read the trends, must have spoken privately about their shrinking options. And on Tuesday night, as Hillary's double-digit lead in Indiana dwindled to very small single digits, there must have come a time when one of them said, "We've lost this thing."

What were those moments like? What kept them going between themselves? Did they encourage one another, or was there an unspoken pact not to voice the unspeakable? Was there blame when Bill had one of his unwise moments? Did their shared past, of success and scandal, enter into it, or were they absorbed in this moment?

In answering those questions, there you would find the movie.

.

It sounds like a prank. We would all like it to be one. But it seems to be legit.

The story comes from Screen Daily, who reports that S. Darko is being shopped around, with Fox already picking up the North American distribution rights. Touted as the sequel to the 2001 cult hit, the story picks up seven years after Donnie Darko left off. The youngest Darko, Samantha, is now 18 and abandoning her commitment to Sparkle Motion. She heads to Las Vegas with her best friend Corey, but the two are plagued with bizarre visions. I imagine they will involve a rabbit.

Richard Kelly, the original director, is in no way involved. Chris Fincher Fisher* will direct instead. Daveigh Chase, who played Samantha in the original, will reprise her role. It looks like she is the only one. The movie also stars Ed Westwick, Briana Evigan, and Justin Chatwin.

As to the big looming question of why, oh God, why, Simon Crowe of UK sales company Velvet Octopus says they're thinking of the children. "I think there is a new generation of cinema-goers who will be very excited to see this film."
Which generation came of age between 2001 and 2008? Why haven't they rented Donnie Darko? I am afraid these are questions to which Crowe has no answers. But he did quip, "Donnie's not in [the new film] but there are meteorites and rabbits."

Nothing is safe from the all mighty dollar, my friends. Nothing. Even when there is a pretty conclusive ending, there can always be a sequel. I'll leave you to think about that as I go pen my script for No Country for Old Men 2.

[via Empire]

*Very kind thanks to astute reader toad_stone for pointing out our egregious misspelling of director Chris Fisher's last name. Correction made, with our apologies. - Ed.

With every passing story I read about border control or security insanity, I'm beginning to think that once you have any responsibility for your country's safety, you go insane. Everyday objects become suspect (like a friend harassed in the US for having a couple pictures of an ex amongst the pics he was traveling with), and sometimes, objects are given extraordinary value. I was once charged a couple hundred dollars in Canadian tariffs for a Buffy DVD that was sent to me as a gift, and had to prove that the box set wasn't worth their astronomical estimated cost. But I guess I can consider myself lucky that "Buffy" didn't make the border powers that be think the discs were porn.

Canoe reports that a new Canadian film from John N. Smith (Dangerous Minds) was held at the border because of its name: Love and Savagery. The romantic drama headed to Ireland last month to shoot some scenes, and then the footage was shipped to Montreal for processing, where it was stopped by the border patrol. Smith says: "There was a big kerfuffle and they suspected us of being involved in the pornography trade. They were insisting they were going to send it off to the RCMP lab to develop it to see if we were engaged in pornography." This created a bit of a panic as they worried about the potential damage RCMP processing would have on the footage.

Man, this news truly bums me out. Variety reports that Picturehouse and Warner Independent Pictures are shutting down. It's not like this is shocking news; ever since New Line folded, it was all pretty much a given that both Picturehouse and Warner Independent would either close or merge in some way -- but it still stings for those who, like me, were big fans. In a statement, Warner Bros. president and COO Alan Horn claims this move won't stop the studio from taking more chances on young, indie voices. He says, "After much painstaking analysis, this was a difficult decision to make, but it reflects the reality of a changing marketplace and our need to prudently run our businesses with increased efficiencies. We're confident that the spirit of independent filmmaking and the opportunity to find and give a voice to new talent will continue to have a presence at Warner Bros."

On a personal note, Cinematical has worked with folks from both Picturehouse and Warner Independent Pictures, and have always found them to be wonderful people who truly care about spreading these little indie films as far and wide as they can. Here's hoping that love, that heart and that passion will not disappear. We wish all those involved good luck in their future endeavors.

I just had to share this picture with you guys, which was nabbed from a collect of orange-tee pics up over at Just Jared. Doesn't it seem like we just went back in time? If Lindsay Lohan wasn't sporting the blonde locks in the picture above, it almost looks like this was taken during the good old days of Lohan, when she was a popular, upcoming actress, rather than a girl struggling with personal problems and tabloid frenzies.

As I told you the other day, Lindsay will have a short stint on the show, starting with the season finale this year. She's playing an old classmate of Betty's who was bitchy to Betty back in the day, but is now down on her luck.

I think this might just be the way for LiLo to work on her career -- not something that regresses her back to kid fare, but something that merges her pre-struggle past with the hopes of her present. I could be fooling myself, but it'd be nice to see the tide change for the troubled ex child stars we hear about so much these days.

Not for nothing, but this could be the oddest piece of movie marketing I've ever seen. So we already know there's a petition out there to stop Uwe Boll from making films, and this came about after the infamous director told FEARNet that he'd quit making films if one million people signed a petition. For about a week or so, a number of people tried to capitalize off the dude's ridiculous antics, and Boll even viewed the whole thing as pretty good (and free) press since his new film Postal was debuting on May 23.

Cut to today: Cinematical received a press release in our inbox letting us know that Stride Gum is now "supporting the efforts of StopUweBoll.org in their attempt to convince famed film director Uwe Boll to stop making video game-based films." Oh yes, Stride Gum. Makers of ... gum. And if one million people sign this petition by May 23rd (opening day for Postal), then all one million folks will receive a digital coupon for a free pack of gum. Wait, I don't know if you were paying attention just then -- I said a FREE PACK OF GUM!

Seems odd that this promotion would coincide with the opening day of Boll's latest film, which, honestly, leads me to believe that Stride Gum is helping to promote Postal by supporting a petition calling for that film's director to quit the industry. I've seen filmmakers do some weird things before (including Uwe Boll), but this has to take the cake. Yeah, so sign the petition and look out for that free pack of gum.

(And don't thank us ... we're just doing our job.)

Catching an afternoon screening of Iron Man last weekend, the questionably denigrating representations of Afghani villains bugged me less than the bizarre cultural references in the trailers preceding it -- especially when it came to accents. Three previews in a row contained characters speaking intentionally mangled English, a fact all the more recognizable because all of them were played by well-known actors. You Don't Mess With Zohan showed Adam Sandler as a tough Israeli hair stylist. The Love Guru preview found Mike Myers blabbering on with South Asian inflections. Rounding things out in perhaps the most innocuous case, Cate Blanchett popped up as a Communist baddie in Indiana Jones and the Kingdom of the Crystal Skull. Are these gross caricatures or fair play?

We've touched on this issue before, but it looks like each month the trend gets a little stronger. There's edgy and there's a line: Borat may or may not send the wrong message, but the character's faux Kazakh accent tells you a lot about the way Americans tend to judge foreigners on the basis of their less-than-perfect English. The specific nature of the satire gives Cohen's performance an underlying purpose -- unlike, say, Love Guru, which seems more like a chance to ignorantly marvel at Myers' ability to turn Indians into a continuous punchline. Recently, a few Hindu groups launched protests against the film. This could mark uncharted terrain for Myers, who did not, as far as I know, get lambasted by any hippies after the first Austin Powers.

Watch out, TV land -- there's another tabloid princess on the horizon. Britney Spears' stint on How I Met Your Mother brought in a ton of viewers, and now Lindsay Lohan is getting her shot. After rumors broke last fall, Variety reports that the actress will have a guest spot on ABC's Ugly Betty. Unlike Spears, who started off with brief role, and is now reprising it, Lohan has signed on to do an extended gig. LiLo will pop up in Betty's May 22 season finale, plus another 5 episodes next season, and she's already begun filming her first stint.

It seems that LiLo will play an old schoolmate of Betty Suarez (America Ferrera). "Lohan's character was not particularly nice to Betty back then, but when the two bump into each other in the finale, Lohan's character is down on her luck, in sharp contrast to Betty's glamorous and promising career at Gotham fashion mag, Mode." Hmm... That sounds a bit familiar!

I must say -- I prefer this to the strippage, and this could be good for the actress -- re-proving her acting chops in something simple, to an already established audience, rather than mis-guided movie choices. (Although Ye Olde Times is a good pick.) Now we'll have to see if she can bring in the same audiences that Britney scored.

In these supposedly progressive times, gender equality is one of those touchy issues relegated to the last paragraph of a trend piece nobody reads. When Katherine Heigl suggested to Vanity Fair that Judd Apatow's movies were sexist, the assertion came across like an after-the-fact shrug of acceptance. Ever the galvanizing provocateur, New York Times critic Manohla Dargis confronts the issue head-on with a thorough analysis of the gender bias in this year's summer blockbusters.

With "Iron Man, Batman, Big Angry Green Man" and other massive expressions of virility invading the box office, female roles appear to be relegated to the back of the multiplex. Dargis touches on the rumors that Warner Bros head Jeff Robinov believes no woman has been able to sell a movie since Julia Roberts (a point that Natalie Portman might contest, but not Paris Hilton) before sizing up numerous upcoming studio releases, with particular attention paid to Anna Faris, "who could be the next Judy Holliday but without the right material will, alas, probably end up the next Brittany Murphy." It's the kind of pronouncement that hits you in gut.

Well, Grand Theft Auto or no Grand Theft Auto, Iron Man wins at life, raking in somewhere from $32 to 35 million on Friday, depending on whom you believe. That puts it on track for an opening weekend between $90 million and $100 million, ensuring a string of sequels and a big champagne bash over at Paramount. But it may also mean a great deal for the future of one Robert Downey, Jr., who tackled the title role with spectacular wit and charm. If an über-lucrative mainstream career is what he wants, it's probably now his for the taking. His role as a blackface-donning thespian in Tropic Thunder later this summer should help even more.

All this is by way of introduction to the fantastic long-player on Downey that is this month's GQ cover story. It covers the bases of the actor's famous checkered past -- the arrests, the tumultuous rehab stints, Matt Palmieri's violent intervention -- but also his slow-and-steady return, and his current precarious, drug-free perch at the top. Matthew Klam spent the day with the actor, hanging out at Downey's Brentwood Mansion, going indoor skydiving, and having a kung fu training session during which Downey punched him in the face. He lets loose with all sorts of candid details about the man's life and recovery (endless health shakes and vitamin pills, a butler-slash-best-friend), but it's more than just a piece of celebrity gossip -- it's a genuinely interesting look at a multifaceted, one-of-a-kind talent who's been through a lot. Take a look.

If you're anywhere near New York City this weekend, you simply must check out the work of this great new filmmaker named Harmony Korine, whose strangely fantastical movie, Mister Lonely, opened yesterday at the IFC Center (it hits Los Angeles on May 9). Some readers may confuse this Korine for the angry young radical who wrote Larry Clark's teen sex drama Kids when he was 19 and later directed the startling divisive, sharply confrontational films Gummo and Julien Donkey-Boy.

I assure you that the 1990's-era Korine is long gone -- or, rather, has morphed into an agreeably warmer artist. Mister Lonely, which stars Diego Luna as a Michael Jackson impersonator and New German Cinema legend Werner Herzog as an eccentric priest, doesn't always make sense, but that's precisely what Korine was going for. "I've always been interested in making a perfect nonsense," he told a crowd at the Apple store in lower Manhattan Thursday night. "I never really cared much about plot. I wanted to make movies about moments that went through you, that were experiential."