A new Zooey Deschanel movie came out last weekend. But is it the one where she plays a “Manic Pixie Dream Girl” opposite Paul Dano or the one where she plays a “Manic Pixie Dream Girl” opposite Joseph Gordon-Levitt? It’s the former, and it’s called Gigantic, which is also not to be confused with this coming week’s new DVD release, Yes Man, in which she plays a “Manic Pixie Dream Girl” opposite Jim Carrey.

Sure, Deschanel has range and talent (see this fan-made montage of some of her more varied performances), but she also has a certain repetitive nature to her characters. And this “Manic Pixie Dream Girl” nature became all the more confusing recently when trailers for Gigantic and (500) Days of Summer (the Gordon-Levitt one, which is actually her second romantic pairing with the actor) appeared online around the same time. Maybe instead of worrying about people confusing her for Katy Perry, the actress should worry more about people confusing her characters and films for each other.

Or, maybe not. Plenty of us can’t get enough of Deschanel’s quirky, free-spirited performances. In his Yes Man review, Roger Ebert noted that two critics proposed marriage to the character at the end of the film. We wouldn’t go that far, but we have crushed on the actress since All the Real Girls and haven’t yet gotten sick of her or her similar, typecast roles. In fact, to us, the problem is not that indie films too often employ the MPDG character; it’s that they don’t cast Deschanel for every such part. So, instead of wishing she’d broaden her career to include other types of characters (it didn’t work well for her with The Happening, after all), we’ve selected ten MPDG characters that she should have additionally played.
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Even if you love the original Escape to Witch Mountain, you have to welcome a remake. The 1975 sci-fi Disney film has some very dated special effects — though the visible wires used to “levitate” a handgun and a harmonica give it a campy charm — and it’s not exactly the well-respected classic that The Black Hole or Old Yeller is, anyway. So, better a remake (or “modern re-imagining”) of a slightly beloved movie, which has already been redone once, to give The Rock another fulfillment of his Disney contract and utilize all the “perfect” digital effects now available.

While it seems that eventually all Disney live-action classics will be remade, potentially rendering obsolete the careers of Dean Jones, Kevin Corcoran and those ugly kids from Mary Poppins, there are some that may, like Witch Mountain, deserve to be recycled. Disney has previously erred in reworking films like The Absent-Minded Professor (Robin Williams is no Fred MacMurray) and The Shaggy Dog (Tim Allen is no MacMurray, either, nor even is he Tommy Kirk), and it’s mistakenly producing new versions of Swiss Family Robinson and 20,000 Leauges Under the Sea. But there are so many other films, most forgotten, that would better lend themselves to remakes.

Here we’ve selected 10 such classics, all but one live-action features, and we welcome you to suggest any others you may wish to see updated and/or re-imagined.
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Ratings were up 10% from last year, and polls indicate that viewers of the Oscars last night mostly enjoyed the telecast and would like Hugh Jackman back to host next year. So why am I still harping on the negatives? Well, no matter how many entertaining elements of the ceremony people remind me of, I have to argue that while the awards themselves were great, the television show was not. And unfortunately, I was not inside the Kodak auditorium where I might have better appreciated the things we all at home should have been able to appreciate. And anything I found entertaining from where I sat in my apartment was pretty much thanks to talented presenters and winners, such as Philippe Petit, Tina Fey, Janusz Kaminski, Dustin Lance Black, Kunio Kato and Danny Boyle.

And I’m not the only one who has complaints. Below you’ll find some criticisms from bloggers who either thought the show was completely terrible or thought it was mostly good with only a few minor gripes.

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Having seen the trailer for the Ken Kwapis’ cast-of-a-thousand stars self help book dramatization He’s Just Not That Into You many, many times (I watch a lot of SoapNET, Lifetime and, uh, MSNBC), I felt reasonably certain going in that I knew exactly what kind of film it was going to be: a wacky, light romantic comedy of mating manners, set in an alternate universe in which otherwise cosmopolitan adults can’t figure out how to use MySpace, and in which all normal and abnormal interpersonal neuroses and difficulties with intimacy are transposed into total paralysis over text messaging. I hope that someday soon, someone in Hollywood makes the film that He’s Not That Into You Was advertised as, because that’s sounds like the exact kind of science fiction that I really enjoy. But He’s Not That Into You is definitely not that film. The question is: what the hell is it?

That Into You fails to fit neatly into assumptions bred by its advertising and its genre makes it somewhat more interesting, if only because it forces us to contend with what our expectations actually are when we go to see a romantic comedy, and what it would actually mean to subvert them. Screenwriters Abby Kohn and Marc Silverstein seem to be very aware of contemporary romantic comedy conventions, as well as a certain tradition of final inning moral clean-up that dates back to the very earliest examples of the genre produced under the Hayes Code. But they have no interest in depriving a mass audience of the crack hit of cinematic junk food that they were promised by the promos. The film’s ultimate willingness to pander to expectation may make it a disappointment on a critical level, but I’m not sure making the audience conscious of the way their guilty pleasure works before letting them have it is something for which the filmmakers should be reprimanded.

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• Apparently Keanu Reeves can play an 18th century Japanese warrior in Universal’s samurai epic 47 Ronin because he’s “half-Asian.” Specifically, he’s half Hawaiian-Chinese, which is only the same as Japanese in the disappointing sort of Orientalism still practiced in Hollywood.
• Ben Affleck may follow up Gone Baby Gone by directing Arizona, the true story of an investigative journalist killed while uncovering political corruption. This could be Affleck’s third work as a director if he’s still helming The Town, which he was linked to back in September.
• New trend in Hollywood: kid writers. While Paramount’s got that 12-year-old food critic film, Fox now has the rights to 9-year-old love expert Alec Greven’s advice series How to Talk to Girls.
• I wonder if Columbia’s untitled bounty hunter project starring Gerard Butler as a man hired to retrieve his ex-wife (played by Jennifer Aniston) will be more like It Happened One Night or His Girl Friday or neither of the above.
• Another YouTube documentary: this one details the online love affair of an Australian and an American whose relationship played out on the video site for all to see. Wait, so why do we need the film?
• The Dark Knight score has now been deemed eligible for an Oscar. Why doesn’t the Academy just announce that the film has already prematurely been nominated in all categories and get it over with.

• The Playlist recaps highlights from Diddy’s (is that his name now?) video review of Hancock: “‘As a black kid you’re like, ‘well, why ain’ there no super heros that look like me?’ Why aint’ there a black super hero?’ They got Wonder Woman, Underdog…[pauses, thinks about the absurdity of this for a minute and then catches up] They even have a dog super hero, they got no black super hero! (aside). That’s my white boy answering the phone.’”
• “[C]ertainly a lot of the greatest directors (and artists, musicians, etc.) have also had some of the most fucked up sex lives. There’s definitely not no connection between wanting to play god with a camera and thinking it’s a great idea to marry your dead wife’s twenty year old sister (that would be Peter Bogdanovich),” Molly Lambert notes, on her way to considering how and why Cameron Crowe’s “ambition to be a great American director…collapsed like a sad soufflé.”
• Friends: The Movie? Be afraid.

• Are real celebrities now taking self-parody cues from an unusually trite episode of Entourage? The same morning that Paramount announces a major acquisition for producer Brad Pitt and the production company Pitt started with former wife Jennifer Aniston, Aniston announces that she’s starting her own production company! Through which she’s going to make movies  “about distinct characters that embody something relatable and relevant about human nature’s double-sided coin of vulnerability and mettle.” Anything you can do, I can do better! Even if you maybe married the homewrecker you knocked up whilst trying to rebuild New Orleans with your multi-culti band of orphans!
• Richard Brenner, described as Toby Emmerich’s “right-hand man,” will stay on at the new New Line as president of production.
• Variety has a raft of release dates for fall Oscar hopefuls, including Sam Mendes’ Revolutionary Road, David Fincher’s The Curious Case of Benjamin Button, and Ron Howard’s adaptation of Frost/Nixon.

• Oscar producers are worried that the alleged inaccessibility of this year’s major nominees will have a negative impact on the telecast’s ratings. But how could that be, when the Best Picture nominees are so full of memorable catchprases? “I drink your milkshake!” “Homeskillet doodle blog!” “I am putting my scruples aside in order to blackmail you in the name of the greater good,” or whatever George Clooney says at the end of Michael Clayton!
• Speaking of bad means and good ends, the Juno phenomena is spilling over to benefit an actual indie film. Bruce McDonald’s The Tracey Fragments, which played the Berlin, Toronto and Denver film festivals last year, and which stars Ellen Page, has secured U.S. theatrical distribution via ThinkFilm. Page’s current hotness notwithstanding, the pick-up is something of a surprise, considering that it’s coming three months after McDonald posted raw footage of the film online as part of a contest for its DVD release.
• Owen Wilson will start shooting his first film since his recent breakdown on March 10. Marley and Me, co-starring Jennifer Aniston, is an apparent science fiction film set in an alternate universe in which 40 year-old women can procreate on demand, but chose to purchase dogs instead.

• Nicole Kidman’s streak of high-profile disappointments looks like it’ll continue with The Invasion. Dennis Harvey’s review confirms the bad buzz: “Perhaps the sole distinguishing element in this Invasion is that it provides a new transmission oh-so-characteristic of our filmic era: projectile barfing.”
• Jennifer Aniston will join Drew Barrymore, Jennifer Connelly and Kevin Connelly in He’s Just Not Into You, making the New Line project surely the most star-studded movie based on a self-help book ever made.
• Rosario Dawson is teaming with the creative team behind the hit animated sci-fi web video series Afterworld to star in and produce The Gemini Division, a 100-episode “live-action/motion-capture animation online sci-fi series.”
• Emerging Pictures is calling on students at historically black universities around the country to help promote Honeydripper, John Sayles’ upcoming musical starring Danny Glover. EP, in partnership with Clark Atlanta University, is creating a college course through which “students from participating schools will help develop and implement a grassroots marketing campaign with their professors and the film’s distribution team.” The film will make its debut at the Toronto Film Festival.