Because last year’s list of dress-up ideas for cinephiles was a hit, we’re doing it again. From movies released in the past 12 months, there are few obvious costume ideas. We’re sure to see a lot of guys dress up as the main trio from The Hangover, while girls inspired by Whip It will be sexy Girl Scouts (with or without roller skates).

This time around, though, we’re presenting ten costume ideas that shouldn’t be too popular. And that makes them somewhat appealing, because nobody wants to show up at a Halloween party where someone else is dressed in the same outfit (especially if the other person’s costume is better). Of course, keep in mind that some of the following unpopular ideas could in turn make you unpopular, too.
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The new trailer for Michael Moore’s Capitalism: A Love Story debuted yesterday on CNN.com, but obviously the world (including me) was too busy crapping on the Avatar trailer to notice. Even the Wolfman spot received more notice. For awhile last night I thought maybe people, even those on the left, were tired of Moore completely. But no, there has finally been some discussion of the thing today.

And the consensus appears to be that Moore isn’t making films any fresher or more groundbreaking than James Cameron is. In fact, Moore’s latest seems surprisingly dated. This is something we’ve expected, of course, given the ongoing story of the economic meltdown, but it is interesting to see so much Bush as well as a complete lack of footage that appears to have been shot since Obama was elected.

Worst of all, everyone agrees, is the use of M.I.A.’s “Paper Planes” on the soundtrack. Even if that song hadn’t been used to death by Pineapple Express and Slumdog Millionaire ads, I would think I was watching a trailer from 2008. How about, given the current events, Moore just rereleases Sicko instead?

Check out what the rest of the film blogs are saying about the film/trailer after the jump:

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Fox Searchlight’s latest pop-indie festival pickup, (500) Days of Summer, is promotionally packaged, as is typical for the distributor, with a hip soundtrack featuring multiple songs from The Smiths and Regina Spektor, as well as tunes from Feist, The Doves and the obligatory Simon and Garfunkel. Though heavily dependent on music, the movie is not a musical, yet like other Searchlight releases it has that one moment where the line between non-musical and musical is just barely crossed.

In the past we’ve seen this moment restricted to diegetic circumstances, whether a dance performance or an in-scene duet of a Moldy Peaches song. But this year Searchlight’s titles have been venturing even further, first with the non-diegetic, Bollywood-influenced song and dance in Slumdog Millionaire and now with an equally fantastical sequence in (500) Days, in which Joseph Gordon-Levitt struts about to Hall and Oates’ “You Make My Dreams,” joined by a surplus of extras and an animated bluebird.

Musical numbers in non-musical movies can certainly work, as is evident in Citizen Kane and many David Lynch and Adam Sandler films, but there’s something very forced and cliché about the sequence in (500) Days. Never mind that it seems lifted out of Enchanted, a movie we very much despise, and never mind that we prefer our Zooey Deschanel movies to feature musical interludes performed by the singer-actress herself rather than lip-synced by her costars (director Marc Webb acknowledges the mistake of not including her in the scene); this number is just completely over-the-top and unoriginal.

In response to the scene, we’ve selected five of the worst musical numbers from non-musical films to show what kind of horrible company (500) Days of Summer is in.
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For a movie with no stars and no built-in audience, Neill Blomkatt’s District 9 is buzzing incredibly well. Sure, the Peter Jackson connection may have something to do with the interest and excitement, but I’d bet a lot of the traffic and talk being devoted to the film today is more due to how awesome it looks. And how well it’s being marketed, of course. But with the latest trailer, which arrived online yesterday, heating up the exposure and anticipation so immensely so quickly, could there be room for overkill? I actually don’t think so. This won’t be another disappointment a la Snakes on a Plane or Cloverfield, because it’s a more interesting premise, not just some cheap genre pic with heavy viral promotion.

Maybe I’m just allowing my expectations to get higher than usual, but I’m truly optimistic that this will actually be good. It’s dangerous territory for me to be getting in, and the film and its campaign are probably going to blow up in my face like that “can” of toxic material in the trailer. Oh well, what else do I have to look forward to next month? G.I. Joe? Inglourious Basterds? I gave up on my excitement for both of those long ago, and I want to be surprised by something out of nowhere. Unfortunately, modern movie distribution doesn’t allow for such complete surprises anymore, so this may be the closest thing I’ve got.

Let’s see what kind of buzz or buzzkill the blogs are inciting after the jump:
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Did the father of 9-year-old Slumdog Millionaire actress Rubina Ali try to sell her for nearly $300,000? He denies it, while the British tabloids reporting on the story aren’t ever to be trusted. Because it’s so hard to determine who’s telling the truth in this latest Slumdog kids controversy, I’m just going to go ahead and blame Harvey Weinstein, since he’s likely responsible for starting all the inquiries into the child actors’ lives in the first place while Oscar-campaigning for his own Best Picture hopeful (remember, he didn’t deny it). I’m not alleging that he’s spitefully continuing the backlash because his film lost the top award (he’s surely happy enough with the two actress wins), as I’m better off accusing him of actually starting poverty in India. But he’s an oft-dependable scapegoat, so I’ll just keep the finger pointed in his direction. I am going to extend another finger out, though, to Born Into Brothels directors Zana Briski and Ross Kauffman for also being instrumental in encouraging the saving of specific poor Indian children who were lucky enough to become movie stars.

Anyway, the story may be a non-story, and it may be a waste of time trying to sort it out, but it sure made for some good jokes. The best from the blogs can be found after the jump:
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Thanks to the six-year-old site April Fool’s Day On The Web, there isn’t much need for me to link to film-related gags that can be found on the Internet today. And thanks to Cinematical’s annual roundup, you’ve probably already been clued into some of the best film foolery, including the very cool, very unfortunately fake Empire Strikes Back-referencing Tauntaun Sleeping Bag posted on ThinkGeek. Regardless, I’m going to sample some of the most creative of bloggery bamboozlement. Because there isn’t any other story that’s funnier or more interesting than the stuff that was made up for this special occasion.

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The success of Slumdog Millionaire, despite our reservations about it, has got us thinking about romance in film. We look to another Westerner’s spin on Indian romance, Nina Paley’s Sita Sings the Blues. The animated feature, which is now available for free online, weaves an ancient Indian epic with a modern day break-up story, all with a soundtrack of vintage Annette Hanshaw. Then we look at Roman Holiday. A classic romance involving royalty, where the lovers don’t live happily ever after.

Karina tells us what to look out for at this year’s South by Southwest Film Festival, the indie film destination where everybody knows your name. Don’t miss Alexander The Last, Drag Me To Hell, Sorry, Thanks, It Came From Kuchar, and St. Nick.

In addition to winning Best Picture (and seven other awards) at the Oscars last week, Slumdog Millionaire passed a major box office benchmark. It has now grossed more than $100 million in the U.S., which is pretty astonishing for a film with one-third of its dialogue in a foreign language. But is Slumdog’s popularity a one-shot in terms of its audience’s interest in India, or are moviegoers actually now more curious about the nation and its own films?

Some websites are simplifying the question of whether or not Slumdog will be a gateway film with polls asking if American moviegoers will now “go Bollywood” (40% of Cinematical readers flat out answered, “no.”), which is rather silly since Danny Boyle’s movie bears no resemblance to the majority of Bollywood pictures. In fact, Americans have in the past received far greater entry points into Indian cinema by way of films involving Anglo or NRI (non-resident Indian) protagonists directed by culturally bridging filmmakers (such as NRI helmers Deepa Mehta, Mira Nair and Gurinder Chadha), than the more-touristy type of filmmaking represented with Slumdog.

If someone truly wants to become familiar with Bollywood, he or she should probably just jump right in and then patiently get used to the style, which can be quite difficult for Westerners to immediately grasp. The extremely interested might benefit from reading the section on popular Indian cinema in Dimitris Eleftheriotis and Gary Needham’s Asian Cinemas: A Reader & Guide, a book that does a really great job acquainting the Western spectator with Eastern film form. Or, the more casually curious cinephile could simply follow our guide to accessible Indian (or India-based) films for the Slumdog lover to watch next:
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If Tyler Perry gets an Oscar nomination for his acting in Madea Goes to Jail, can a washed-up actress scold him for taking away female roles? Actually, could it just be Cuba Gooding Jr. in drag, a la Boat Trip?

Seriously, though, Madea won’t be up for any Academy Awards next year, but damn is Perry’s character popular. Enough that the sassy matriarch has now evolved from a supporting character into the star of her own vehicle (which gave the filmmaker his biggest opening yet this past weekend). Yes, it’s true that Madea is a central figure in most of Perry’s films and has previously been the main protagonist in his plays (including the one Madea Goes to Jail is based on), but in the movie world she was introduced as a secondary role in Diary of a Mad Black Woman. So, now she belongs in that small club of supporting characters who’ve earned their own film(s); other members of which include Jay and Silent Bob, Bruce and Lloyd, Cousin Eddie, Marshal Samuel Gerard, the Scorpion King and Wolverine.

And Madea is one of the very few female characters to belong to the club, which is another good reason for an actress to scold Perry. But the problem also lies with the people who write woman characters, apparently, since in coming up with ten other supporting characters who deserve their own spin off, we managed to only include two females on our list. Perhaps if we’d permitted classic film characters there’d be more to choose from — though even then we might be more likely to include a Peter Lorre or a William Demarest role than a Thelma Ritter or Eve Arden.
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Never mind last night’s show being the gayest Oscars ever (I doubt it). And never mind it potentially being the most predictable (nuts to the Academy for not going with any of my badly foreseen surprises). Here’s my biggest criticism of the ceremony: the 81st Academy Awards had surely the worst directed telecast in history. Throughout the show I found myself commenting over and over, “show the clips, not the [stage; musicians; Queen Latifah; etc.].” There were great injustices done to the deceased, to Baz Luhrman’s choreography (even if it wasn’t a great musical number) and to the nominated actors and actresses, many of who could have used a spotlight on their performances rather than isolated praise from a random peer.

But apparently this year’s ceremony wasn’t designed for the TV viewers, possibly because the Academy didn’t expect anyone to tune in anyway (we showed them; ratings were actually up!). It was a big insular party for Hollywood — and a number of foreigners with excellent accents (and Styx tributes) — during which we were all better off reading the live-blogging and live-Twitterings found all over the interweb than watching the actual program. Often, awards live-blogging is pointless; too many bloggers merely list wins and incidents as they happen, which is redundant for people actually watching the show, while others comment without details, which is insufficient for people who missed the event. But overdone Snuggie references aside, this year’s type-it-as-they-see-it bloggers were better than usual. Chalk it up to boredom, but the commentary on the disasters and disappointments of the Oscars was witty, insightful and actually worth reading. Maybe not on all websites, but on a lot of them.

So, for my final Oscar column of the 2008 awards season, I’d like to circumvent celebrating the event (which doesn’t deserve much praise, in my opinion) and instead celebrate five of my favorite live-blogged/Twittered moments of the night. Though everyone loves to watch a train wreck in progress, sometimes it’s better to turn your head away and listen to someone else describe the tragedy for you. Here is a sampling of the best such observations of the worst such wrecks at this year’s ceremony:

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“The best part about the 81st annual Academy Awards on Sunday night—y’know, besides Zac Efron, OMG!—is that once it’s over, we’ll never have to think about Slumdog Millionaire again.” — Christopher Rosen, at The New York Observer.

As the last weekday before the big event, today seems to be filled with more Oscar bloggery than all previous awards-season days combined. There are last minute predictions, last minute commentary and, most enjoyable, last minute Oscar nonsense. Are you ready? Are you bored? Are you so behind that you really need to attend tomorrow’s Best Picture nominee marathon at your local AMC theatre?

Whether or not you care about who or what wins on Sunday night, you may enjoy some of the following stories, quotes and video:

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So with the film officially getting released finally, it was now time for a strategic marketing scheme. Slumdog Millionaire was first shown at the Telluride Film Festival in late August, and then at the Toronto Film Fest a week later. At both places, the film received unanimous praise and even received the People’s Choice Award at the latter.

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Not everybody loves Slumdog. Much like your favorite band that got too big, many indie film sites have abandoned the picture and moved on to other movies. An mild indie backlash was probably inevitable [sic].

Above: quotes from a post at The Playlist breaking down Slumdog Millionaire’s bumpy road from target of pre-production bidding war, to its loss of initial distributor Warner Independent, to virtual Best Picture sure thing. This is a useful endeavor. It would be more useful if it were a little more accurate.

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Never mind all those Oscar predictions posts out there. If you really want to make some money in the office pool, look no further than a random blog created specifically to leak the winners of this year’s Academy Awards. Think it’s a hoax? I guess we just won’t know until Sunday, will we? And by then you’ll be out hundreds of dollars because you didn’t bet on The Reader for Best Adapted Screenplay.

Okay, so who cares if it’s real or not, particularly in this predictable a year, anyway? The real betting should be on who the telecast producers have wrangled to be those “top secret” presenters. Oh wait, it seems the big names, those that obviously should be revealed in order to attract their audiences, have also come out.

Ah, but what are they saying about either leak on the interweb, you ask? As usual, check out the quotes/links after the jump.

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