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Several months ago while Quentin Tarantino promoted Inglourious Basterds, he mentioned that he might only make a few more films before he retires because, as he said, he didn't want to make "old man" movies. If anyone is unclear as to precisely what an "old man" movie is, they need look no further than Everybody's Fine, Robert De Niro's latest film, about a father trying to reconnect with his adult children after the death of his wife.

De Niro, once an indisputable fount of actorly integrity and hard work, has in recent years played a series of characters that either demanded little of his oft-discussed commitment, or exploited his persona as an intimidating figure both on and off screen. And while the character he plays here indicates a return to the kind of character work that made him a screen icon, there's no denying that the film itself is the cinematic equivalent of career achievement award, which is why Everybody's Fine is well-done and effective but too treacly to be truly powerful.

The latest comedy from Mike Judge, Extract, seems at first to be more conventional than his previous films, Office Space and Idiocracy. However, as the story becomes more complicated, its characters show hidden depths and the plot provides the type of bizarrely comic situations we've come to expect from the writer-director of Beavis and Butt-Head and King of the Hill.

The movie focuses on Joel (Jason Bateman), who owns a small extract factory in southern California. He and his wife Suzie (Kristen Wiig) are having trouble maintaining interest in one another, and he's considering the possibility of an affair. His potential lover is the mysterious Cindy (Mila Kunis), who has just arrived to work at the plant as a temp, but who is really a seasoned con artist with some other payoffs in mind. Joel confides in his bartender friend Dean (Ben Affleck), who tends to recommend medication for everything, legal or not. However, his suggestion about what Joel can do to not feel guilty about having an affair involves not pot or pills, but a trap for Suzie.

I've noticed that when I talk about writer-director Mike Judge with various non-film-geek friends and acquaintances, I usually have to explain who he is -- even here in Austin, his hometown. And depending on the type of person, different types of projects trigger recognition. The high-tech crowd gets excited over Office Space, of course, but it's surprising how many of them can quote Idiocracy lines at me too. ("It's what plants crave!") Nearly everyone nods in recognition if I bring up Beavis and Butt-Head, although I do believe my mom winced a bit until I mentioned King of the Hill as well. And now that Judge has made what may be his most traditionally commercial comedy to date, Extract, I wonder if I'll have to explain who he is to fewer people. I hope so.

Certainly more people are aware of Extract than Judge's previous film, Idiocracy, which Fox slipped into a handful of theaters with virtually no publicity of any kind. Miramax is giving Extract plenty of publicity for its September 4 wide release, and Judge agreed to do some interviews. I was fortunate enough to get to sit down with him for a little while and chat about past and future projects as well as Extract. (The above photo is from the Austin red-carpet event later that evening.)

Maybe it's a little early to canonize a scene from a movie that came out only a few months ago, but as fall responsibilities quietly encroach on our sweaty summer abandon, it feels right to point out a scene in Adventureland that particularly reminds us of freedom, unexpected fun, and most of all romance. Thankfully, Greg Mottola's film arrived on DVD and Blu-ray this week, so we were not only able to recall it as our favorite moment in a movie filled with many memorable ones, but make sure the details weren't lost in the intervening (three) months between now and its original release.

Following a packed advance screening of Extract, the new comedy by Mike Judge, in Dallas, Texas last night, the writer / filmmaker / animator was asked about his previous effort, Idiocracy. He admitted his disappointment that the film was so little publicized for its limited theatrical release three years ago: "When it opened in, like eight cities, someone told me that you couldn't look it up on Moviefone under its title," he related. "[The studio] didn't even want to pay the eight bucks or whatever to get a listing, so you had to search for 'Untitled Mike Judge Film' to find out where it was playing." Our own Jette Kernion wrote about the lack of publicity at the time.

Fortunately, Judge noted that Idiocracy has sold well on DVD, and Extract should be much easier to find when it opens on Friday, September 4. If I describe it as Judge's best work so far, it's not because he's "grown up" or "become more mature"; the film features some of his darkest comedy yet. Extract is very much a part of the Mike Judge Universe, where decent men enjoy working for a living but dream of escaping some day (Jason Bateman), where good women sometimes go bad (Kristen Wiig, Mila Kunis), and where most everyone is good-hearted but dumber than a pet rock (Ben Affleck, J.K. Simmons, Clifton Collins, Jr.). In other words, Extract is another funny, unpredictable comedy featuring recognizable, everyday people, like the guy who's sleeping on your couch right now, drinking two-liter bottles of Pepsi and watching TV all day.

More tidbits from the Q&A after the jump.

Guy Pearce just doesn't do enough movies for my liking. It's not as though he's vanished, but he seems to maintain a fairly low profile every time he blows everyone away with a big, meaty part like L.A. Confidential or Memento. But he has a lot of great projects coming up (the most exciting of which has to be The Road), and he's added a very intriguing one to his slate: the remake of 1973's telepic Don't Be Afraid of the Dark.

According to The Hollywood Reporter, Pearce and Bailee Madison have joined Katie Holmes in Troy Nixey's remake. It's a fairly loose adaptation of the 1973 original, which was centered around a couple, Sally and Alex, who inherited an old mansion from Sally's grandmother. Sally accidentally uncovers a hellish portal that allows a bunch of demons to escape and wreck bloody havoc. Naturally, no one believes her, and is convinced she's having a nervous breakdown thanks to all that home repair. Because it was the 1970s, it didn't even end well for Sally who just wanted a new fireplace. For those tired of seeing "remake" tacked onto everything, and for fans of the original, you'll be happy to know that the new Dark isn't so much a remake as a story "inspired by" those demonic creatures of old.

Check out the rest of the story at The Horror Squad

Multiple Oscar nominee Stephen Frears is a tough nut to crack. Amiable but terse, his excellent multilayered films do the talking for him, from his first collaboration with Christopher Hampton and Michelle Pfeiffer on 1998's Dangerous Liaisons to 2007's The Queen. In his latest film, Cheri (read Cinematical's review here), Frears turns his lens onto the cloistered and often duplicitous world of wealthy courtesans. Frears' films often focus on subversive outsiders who must make their own "family," as it were, such as Dirty Pretty Things, The Grifters, and My Beautiful Laundrette. But Cheri's delicious spin on sex, love, and aging is typical of its source material from author Colette, whose books Cheri and The Last of Cheri present a world of upside-down relationships and self-sufficient, frankly sexual women.

Michelle Pfeiffer leads the cast as the stunning Lea de Lonval, a famous courtesan whose friend Madame Peloux, played with busty abandon by Kathy Bates, encourages Lea to have an affair with Peloux's louche son Cheri, the pale and effeminate Rupert Friend. Neglected as a child while his mother was dealing with her affairs, Cheri is hardly likeable or loveable, but somehow their affair becomes less about sex and more about the love both he and Lea have lacked in their lives. Peloux throws a wrench into the whole thing when she plans a wedding for Cheri to another courtesan's child, Edmee, played by newcomer Felicity Jones. What happens after that surprises them all.

Cheri opens June 26th in limited cities. Visit the official website for more information.

Cinematical: What's the difference between releasing a movie like Cheri during Oscar season as opposed to the summer blockbuster season? Is it more or less stressful?

Stephen Frears: The problem with competing for the Oscars is it's very tough, so in a way it's quite a relief being [released] at another time of the year. You're all right if you've got the one that gets everybody's attention, but fighting for attention is quite difficult. I've released films in that season that have been just overlooked.

The French writer Colette, born Sidonie-Gabrielle Colette (1873 - 1954), lived one of those witty, charming lives you've read about, doing things like performing at the Moulin Rouge and having affairs with Josephine Baker, while marrying several rich husbands. She wrote, among many other things, what would become the famous musical Gigi, which Director Vincente Minnelli turned into a dull, immobile Oscar-winning hit in 1958. The English film director Stephen Frears would have been 13 when Colette died, though at that age, he had most likely never heard of her. But now, 55 years later, the two have teamed up for the new movie Cheri, based on Collete's 1920 novel about a passionate affair between an aging courtesan and a spoiled younger man.

Frears seems like the right man for the job. After all, his similarly sexy costume drama Dangerous Liaisons (1988) was another Oscar-winning hit. And in his Mrs. Henderson Presents (2005) he dealt with issues of sexuality and censorship on the stage, so he seems prepped to make something really sexy and full of wit and charm, especially given that he's re-teamed with his Dangerous Liaisons star Michelle Pfeiffer. It's a win-win scenario that quickly turns lose-lose. For some reason, Cheri is dead on arrival, a cold fish. It just lies there, too lethargic to be funny and too timid to be sexy, but not deep enough for any real drama.

With no disrespect to the very serious issue of life-threatening, high-seas piracy off the coast of Somalia, movie studios have been dealing with their own version of piracy for many years now. True, no lives have been lost, but the economic costs have mounted into the billions, according to the Motion Picture Association of America, and no viable solution has been put forth to discourage individuals from illegally downloading and sharing movies, nor has any real progress been made to keep people from selling pirated DVDs on the streets and in shops. But what if studios rewarded people for not pirating movies?

According to This Blog Is Not Yet Rated, Twitter user Amanda Music wondered: "Ugh WHY IS ADVENTURELAND NOT ON TORRENTS YET?" The US distributor for Greg Mottola's Adventureland is Miramax Films, and they've been actively seeking out Tweets about the movie, as evidenced in their response to Amanda: "Cmon Amanda, don't do it. #adventureland #fbi." Amanda replied: "Okay I won't, JUST FOR YOU," prompting Miramax to respond: "Thanks Amanda. In return, I have a free Fandango card for 2 tix if you're interested in Adventureland. Just DM us for the code."

Score one for Miramax doing a good thing, but I don't recommend deluging them or any other studio with Tweets suggesting that you'll illegally download movies if you don't get a free ticket. What it points to, though, is that studios need to have greater incentives for people to get up from their computers and go to a theater.

By Erik Davis (original publication date: 1/20/09 -- Sundance Film Festival)

Adventureland is and isn't everything I expected it to be. First off, no matter what the trailer may show you, this is in no way Superbad, circa 1987 -- so get that out of your head now. Adventureland is, instead, a sometimes subtle dramedy that's more touchy-feely than it is funny. With more in common with writer-director Greg Mottola's The Daytrippers, Adventureland is a moody late-eighties time capsule whose parts explode on the screen and shoot out in several different directions before landing, together, in a pile of mixed emotions.

James (Jesse Eisenberg) is an inexperienced brainiac who's looking forward to spending his summer before college traveling through Europe. With the trip planned right down to the last penny, James is informed by his stiff parents that the nine hundred bucks he was supposed to receive as a graduation present won't be arriving in his pockets anytime soon since dad was forced to take a major pay cut at work. So, instead of discovering himself abroad, James is forced to find a summer job to help pay for his expensive Ivy League school in the fall. When his skinny frame and intellectual persona find him rejected from almost every job out there, James reluctantly takes an opening at the Adventureland theme park in the games division.