Let’s round out the week of Eurovision profiles with a good one, shall we?

Actually, no, let’s not. Because for that to happen we’d have to transport everyone to a strange parallel universe where the Eurovision Song Contest is an exhibition of the best in artistic talent that Europe has to offer, and not a crappy night of rubbish music. And the cost of doing that would be prohibitive. So here’s some more of the usual crap instead.

It’s the Eurovision 2009 rundown for Next Time from FYR Macedonia…

F.Y.R. Macedonia · Next Time, Nešto što kje ostane

One thing we knew the Macedonians were good at: national flag design. One thing we didn’t know the Macedonians were good at: growing preposterously large hair and performing songs that sound like they should be soundtracking the themetune to an American action show from the late 1980s. Because that’s what Nešto što kje ostane by Next Time is. We heard that Next Time used to alternate between being a hard-rocking garage band and performing songs at children’s festivals, and this absolutely makes sense - they’ve got the snarling licks of a garage band and the ridiculous floppy bouffant hair of a clown-for-hire. Is Nešto što kje ostane any good? David Hasselhoff would probably like it. That’s all you need to know.

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In January, it was revealed that a new Tomb Raider movie was in development. Not a sequel but a complete reboot of the series. About.com was able to catch up with producer Dan Lin and find out a little more about the project. Lin reveals that the film will be a “very character orientated” origin story, which hopes to take a “more realistic” tone than past Tomb raider movies.I guess this means we won’t be seeing Lara punching any sharks this time around.

He also says it will be a younger Lara Croft, which has some sites assuming that he means teenage. Megan Fox had been the subject of Internet rumors surrounding the project earlier this year. And while casting has yet to begin (it still sounds like they’re in the story development phase), who knows?

• Megan Fox ISN’T Lara Croft But Tomb Raider Reboot IS in Development
• Guy Richie Directing Sherlock Holmes for Warner Bros.
• Warner Bros. to Make Jeff Smith’s Bone Into Movie

'Twilight' Is Finally Here! Relive The Madness

Here are the highlights of MTV's year-long buildup to the premiere.

Let's just point out the elephant in the room, shall we? Al Pacino is one of the all time greats, but his recent work has been anything but. If he was anyone but Pacino, a story like this would be phrased as a hopeful, can he come back sort of piece ... but it's Al Pacino. You don't say those kinds of things, do you? Well, you can think it if you like, as The Hollywood Reporter says that Pacino is currently circling Barry Levinson's biopic on Dr. Jack Kevorkian.

I doubt there's anyone reading who doesn't remember who Dr. Kevorkian is. Known as Dr. Death, he assisted in more than 150 cases of suicide / euthanasia with his "Mercy Machine." After beating the Michigan court system for years, he was convicted of second degree murder after sending a tape of one euthanasia patient to 60 Minutes. He served eight years, and was released in 2007 on account of good behavior, and has been doing public appearances since. The media frenzy and emotional fury that surrounded him seems to have dissipated for the moment, but perhaps Levinson and HBO Films can stir it up again.

Levinson's film will trace Kevorkian's career as he builds his famous "Mercy Machine," conducts his first assisted suicide, and creates a firestorm with his advocacy for providing assisted suicide as "a medical service." It's the kind of role Pacino could really excel at ... but it's also something he could probably do in his sleep. So, is it promising? Predictable? The first step on the road back to exciting brilliance? You be the judge.

Filed under: Drama, Casting, Celebrities and Controversy, Newsstand, HBO Films

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Stavros Flatley and Shaheen Jafagholi have been voted into Saturday night’s Britain’s Got Talent final.

The fact that Stavros got through on the public vote should be no surprise. They were huge hits after their first audition, they were hilarious tonight and they secured the golden last performer slot.

The judges were then asked to choose between Shaheen and MD Showgroup. Simon opted for the dance group whilst the other two judges backed 12 year old Shaheen Jafagholi. For the first time this week it seems as if the right acts made it through to the final and I can’t tell you how much I would love Stavros to win the whole show. I think the Queen would love them too.

A lot of critics claim the movie is OK and even nice and they managed to mention that you should watch the first part of Crank before enjoying the second. Well, they are right, but only to some extent. The movie is hot, but not great at all – it is simply so-so and you can watch it only if you have nothing else to view.

As to me, I loved Crank (I loved the1st part as well), because it is both interesting, funny and very extreme. The movie is amazing and I can’t think of any other movie to be that great. The pace is really mind-blowing, but the movie definitely has a couple of really disappointing moments, and I am about to tell you some words about them.

• it seems to me that this movie was made only to get money from people and that’s all. I mean it’s main aim is to get some commercial success and bring money to its creators;
• the music was awful and it didn’t seem to fit the “Crank” at all. The first film was much better;
• the movie is not very fast-paced it is hectic and chaotic;
• I didn’t like Amy Smarts to be involved in numerous sex scenes and her being almost naked half of the movie;
• some characters were absolutely needles in the movie and it seems to me that their main aim was to drag the time;
• the idea of Chev needing to recharge looks odd;
• the movie is not logical at all and it seems to have no plot at all;
• the ending brings nothing;
• the movie feels very shallow and simple;
• there is almost nothing new in the movie and it contains no message;
• it bears a strong resemblance to the first one.

So, if you are not a great fan of the first movie, I think there is no use for you to watch the second part.

Long before shows such as PICKET FENCES or DESPERATE HOUSEWIVES turned their eye toward small-town life, the entire nation was titillated by the shocking events which unfolded in a tiny New England town known as Peyton Place, first brought to life in the 1956 novel by Grace Metalious. And when the fledling ABC network was looking for a show on which to build it’s reputation in 1964, they decided to bring the book-turned-film to life via a primetime serial which aired twice (and eventually three times) a week, captivating the nation with its tales of unwed teens, abusive husbands and all matter of family dysfunction.

Now, the folks at Shout Factory have released the first 31 episodes of the primetime drama (with a second 31-episode set due to be released on July 14). So how does the show hold up some 45 years later? Better than it’s modern-day counterparts. For where today’s soaps tend to focus on splashy tales about tornadoes (ALL MY CHILDREN), Mob wars (GENERAL HOSPITAL) and psychos-du-jour (AS THE WORLD TURNS), PEYTON PLACE takes us back to a time when plots were character-driven as opposed to event-driven.

As the black-and-white episodes unfold, we are introduced to young, innocent Allison MacKenzie (played by an impossibly young Mia Farrow), who is being wooed by rich bad boy Rodney Harrington (Ryan O’Neal). Of course, a two-person love story is rather bland, so thrown into the mix is Rodney’s ex, troubled Betty Anderson (Barbara Parkins), whom we actually get to watch evolve from a selfish child into a budding vixen thanks to the cruel fates and the pressures of living in a town where everybody knows everyone else’s dirty little secrets.

The romance is swoon-worthy as Allison falls in love for the very first time and viewers, privy to what’s going on with rival Betty, anticipate the heartache to come. Meanwhile, Allison’s mother, Constance MacKenzie (Dorothy Malone) has both a secret and a romance of her own… if she can get handsome new town doc Michael Rossi (Ed Nelson) to stop spending so much time with Laura Brooks (Patricia Breslin). Meanwhile, Betty’smom, Julie (Kasey Rogers), divides her time between avoiding the fists of her abusive husband, George (Henry Beckman), and the not-entirely-unwanted kisses of her boss, Leslie Harrington (Paul Langton), who happens to be Rodney’s pop. When Rodney catches his dad kissing Betty’s mom, a chain of events is set in motion that impacts all their lives.

This is classic soap opera, complete with cliffhangers and overwrought musical cues, scandalous secrets and romantic rivalries, and it’s a must-have for any fan of the genre (or any viewer who misses “the good old days” of soaps). But one word of warning: Don’t start this five-disc collection unless you have several hours to kill, because anyone with even the slightest tendency toward addictive behavior will find themselves saying, “Okay, just one more episode” until they’ve raced through the entire collection.

PEYTON PLACE is available on Amazon.com

We've got the goods on the new time-traveling Ghostbusters comic, who doesn't want to see Venkman as a cowboy? Check out an exclusive look at the covers and panels, including the new Lady Buster.

Ghostbusters: Displaced Aggression is from the same duo over at IDW who worked on Galaxy Quest comic, Scott Lobdell and Ilias Kyriazis.

In this new four issue series the fellas find themselves at the mercy of pan-dimensional warlord known as Kozar'rai. The fiend banished each Buster to a different time, as he felt that killing them off would just allow them to reunite "on the other side".

We've got the first three pages of the first issue along with the each four part cover. According to writer Scott Lobdell, "Peter Venkman is trapped in the Old West, while Dr. Ray Stantz appears to be a member of the Round Table in good standing. Egon Spengler seems to have settled into a future where Flash Gordon might have wound up in, and Winston Zeddmore looks like he's trapped in an Escape From New York type of reality."

Also included is your first look at the female Ghostbuster, complete with slinky jumpsuit.

Starpulse has created a list of the best mother/daughter pairs on tv. The recent Medium scene where Allison announced that she was going to get Ariel the help she needs and was so supportive of her desire to get through school without seeing ghosts seems to have really helped them land their spot in the top five. I’m glad Patricia Arquette and Sofia Vassilieva got the recognition they deserved!

NBC Photo: Michael Yarish

Tags: Medium, Patricia Arquette, Sofia Vassilieva

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Click images for desktop size: "Untitled" by Steve Argyle Yesterday was filled with nothing else but dogs. Giant dog has decided that the foster dog is okay so long as he is playing with him and not with giant dog's toys.
Foster dog would bring toys to me to throw and drop them in my lap. I would reach for them and discover that giant dog, who was sitting next to me, had deftly removed them. He was holding them angrily between his paws. Foster dog just went and got new ones. At one stage giant dog was holding three toys between his paws. He glared at me in case I had any funny ideas.
Even my puppy got slightly less disdainful. She initiated play. Of course the play was her game and could only be played by her rules.
When giant dog would play bound at foster dog gentle dog would join in by attacking giant dog! And then foster dog had to go to the vet.
If ever a dog needed a trip to the vet . . . doesn't make it easier. He was a pain. There was an unfixed female beagle at the vet's office. He was uncontrollable. I took him outside. This is the rescue service's vet so we had no choice, but I soon saw that there was no exercise area. No grass at all except the little patch we were standing on, and that little patch was next to the highway. Cars went by too fast for me to be comfortable.
I wouldn't have left my dog there.
Foster dog is going to be fixed, shot up and the have his dew claws removed. He has the ugliest dew claws I've ever seen on a dog. I'm amazed that he hasn't hurt himself before this. They have to be removed. The healing process is long. Three weeks minimum. He'll have to be crated and carried around some.
Poor guy. He's still one of the happiest dogs I've ever seen. His life has been pretty miserable but he keeps playing and laughing. He keeps the world shaped in his image. I admire that. I hope he keeps his attitude after all this surgery.

Click images for desktop size: "The Last Supper" by Da Vinci This surgery will make his life better but I always wonder if it will be worth it if he loses that gift of changing the world to his own joyous view.
Its one of the reason I go on so much about my health issues.
When the doctor's tell you some bad news, you got this or that brand of cancer for example, and then detail the available cures they always seem to do it in a rush. When you ask for details they get brusque, especially about the side effects.
Something like, "You've got lympho ballistic leukemia. No big deal its curable."
In my case it took over seven years to cure. I've been cured, or at least in remission for nearly two years. I've often felt like giving up, even recently. But I don't regret still being alive. No matter how low I've fallen or how despair filled things have often seemed. When it comes to doctor's and scuzzy insurance companies sucking up my money (This policy cover 100% of all costs of normal and average acceptable fees as decided by us you will be responsible for any additional charges as decided by your service provider.
Its been worth it to me. I have my puppy and I have my friend. I like the world well enough, I stubborn enough to enjoy things like music and songs and stories.
Its been worth it to me but it might not be worth it to someone else. When the doctor says, "I won't lie to you," or "I'm not going to sugar coat it," its safe to assume that he's going to enjoy being brutal, he won't discuss things so you can have a clear idea of what's in front of you, and that he's been pretty much misleading you in things up till then.
Most people will be empathetic at first but they don't know how to act. Most of us don't much like confronting mortality. I sure don't. I
Click images for desktop size: "The Bride of Frankenstein" always planned to be immortal, spitting into microphones, running down fields while opponents tripped over their own feet trying to catch me with all the dogs who've ever lived with me cheering me on from the stands or the mosh pit.
When they find out your ill people shut it out of their front brain and work hard to drive it out of their back brain too. The light we see blinds us to all but itself.
They get dismissive or they avoid you. Or worse, they suck it up so every meeting becomes more a confrontation than a casual conversation. Your mind's not working great either. You can't ignore the moments of self pity where you won't like yourself very much either.
I was kind of lucky and people really couldn't notice. I'm pretty dour anyway. In almost any relationship there would come a point would someone would look at me a bit amazed and say, "I never realized it before, your really a pretty funny guy, like you tell a lot of jokes. I never knew you were joking!"
The only difference for me is that they stopped saying that.
I think, no, I know that people need to know what's in front of them. They don't need to know the
Click images for desktop size: "Taoist Immortals" by Fûgai Honko future but they have to know enough to make a decision they can live with, not live happily maybe but they have to see some joy out there at the end of it all.
Steve McQueen went through it all, even ended up in Mexico swallowing extract of peach pit (Laetrile) while two people I know killed themselves. One by driving head on into a fire truck that was enroute to a fire.
I miss them all but there's no choice but to respect their decisions even if you regret their choices.
That's all.

I've listened to the new Bob Dylan, "Together for Life" and the New Neil Young, "Fork in the Road".
I like Neil Young. Everybody has had to sit through my Neil Young story. (Maybe that should be Neil Young Story - keep it capitalized so it enters myth). Me and my buddies hid on a hill at Point Dume and watched them build Bob Dylan's house and got a rush when we saw Roger McQuinn, even ran down the hill to talk to him.
I still listen to their stuff, their old stuff.
Because I loved their old stuff so much I probably took it harder and more personally that I think this new tuff absolutely sucks. Too old, too used to a life of riches and wealth. Young at least seems to try and understand what's going on in the world. He even has feeling for it but its not there in the music.
Dylan has lived in the legend cocoon so long that he's forgotten what it means to be human, to be angry and sad. He writes about heartburn like it was heartbreak.
It makes me sad.
What cheered me was re-watching "Hustle and Flow" as I did the usual household chores. An old movie but still the best film ever about creating music. It works from points of extremity and hyperbole. Music does. What I keep finding touching is the fact that the people here are all dreaming and reaching for that dream and in struggling for it they regain the humanity that the world has sought to pull out of them. All the other movies that tried to tell this story forgot about the human part, they wasted my time telling me about being an inhuman legend.
Time to take the dogs for their walk.
Next week I have to meet the parents of the players of my team. I have to prepare a three minute speech about what to expect from me and what I want from them so that we can build their children into something the children can be proud of. And I have to do this while I'm laughing at the latest dog jokes. Then I have to get ready for poor foster dog to come back to his home.

Left to right: Kristin, unidentified ardent moviegoer, Erik Gunneson, and Meg Hamel.

Kristin here–

A year ago, those of us attending Roger Ebert’s Film Festival were forced to do without the presence of the moving force at the center of this lively annual event. Still in therapy from his health crisis of 2005, Roger fell and broke his hip. Characteristically, he struggled to convince his doctors that he could take an ambulance to Champaign/Urbana, but their caution prevailed.

Since then, Roger has become ambulatory again, and this year he looked very happy to be back (an impression confirmed by his wrapup blog here). He still can’t talk, but he was a benign presence at the opening reception at the university president’s residence. There his wife Chaz took over the speaking duties, introducing the filmmakers and the critics who are this year’s guests.

Roger went onstage at intervals during the festival, and he made his first appearance to introduce the opening night’s film, the director’s cut of Woodstock: 3 Days of Peace and Music (1970). Thanks to dedicated software, Roger tapped out messages on a laptop and pushed a button. A voice with a British accent conveyed his words of welcome to us and to director Michael Wadleigh. Then Roger retired to the back of the theater, where a comfy chair is reserved throughout the festival for him.

Michael Wadleigh, Jocko Marcellino, and Dale Bell discuss Woodstock.

From the perspective of nearly forty years, Woodstock has become both a record of remarkable musicians in their prime and a valuable document of the youth culture of the late 1960s. I was a junior at the University of Iowa at the time of the concert, only about five months away from taking my first film course and changing the direction of my education from tech theater to cinema studies. Working on props and make-up for productions every night, I was only dimly aware of the concert or the film that followed.

I also admit I don’t know much about pop music. I kept asking David “Who’s that?” Jefferson Airplane, The Who, Joe Cocker, and others were just names to me, not people whose appearance or music I recognized. But I could appreciate the remarkable way in which the filmmakers were able to capture live performances: the fluidity of multiple, 16mm cameras filming onstage only feet from the performers, the maintenance of focus even when events were recorded at night in less than ideal lighting conditions, and the excellent sound recording.

The screening heralds the release of the new version on DVD on June 9. Amazon has it on pre-order in 3-disc Blu-ray and DVD boxes, as well as a 2-disc set. The third disc has some making-of featurettes and about two hours of additional concert footage left out of even this extended version. I can’t imagine anyone who wants a compilation of performances by this remarkable group of musical talent settling for the smaller set.

Von Sternberg and Jannings, round one

The Alloy Orchestra has become a fixture at Ebertfest. This year’s silent film was Josef von Sternberg’s The Last Command. I hadn’t seen it in thirty years or more, and it’s better than I remembered it being. Of course, seeing a gorgeous print on the big Virginia screen with an excellent musical accompaniment does it more justice than an old 16mm copy. Von Sternberg’s images were luminous, and his depiction of silent filmmaking as accurate as anything you’ll see on the screen.

In von Sternberg’s autobiography, Fun in a Chinese Laundry, he spends most of the six pages devoted to The Last Command badmouthing star Emil Jannings, with a brief sidetrack to badmouth William Powell. Presumably he’s talking about their behavior on the set, since their performances are both impressive, with Jannings emoting away and Powell as stone-faced as Buster Keaton. Von Sternberg reports that he and Jannings vowed never to work together again. Maybe winning the first Academy Award as best actor changed Jannings’ mind, for a few years later he invited von Sternberg to direct him and Marlene Dietrich in The Blue Angel. The rest, as they say, is history.

Drawing on their usual range of odd percussive objects, including a bedpan, the Alloy group provided a lively score. With Chicago Tribune critic Michael Phillips as moderator, Guy Maddin and I joined the orchestra members for a discussion afterwards. One of them hinted to me backstage that a score for Docks of New York might be in the offing, which would round off the von Sternberg series perfectly.

Saturday matinee

Last year the festival presented Tarsem Singh’s The Cell, with its delirious production design by Eiko. Tarsem’s 2008 follow-up, The Fall, got less attention in theatres, not having a star like Jennifer Lopez to carry it with audiences. It’s a complex fantasy set in a hospital during the silent-cinema era. There a suicidal, injured stuntman telling the tale of a band of mythical heroes bent on revenge to a seven-year-old girl with an arm cast. Her visions of the narrated events, set in spectacular landscapes and exotic buildings, mutate as she insists on changes in the story. The Fall was distinctly a crowd-pleaser, at least for the indefatigably enthusiastic audience in the Virginia Theater. Its Romanian child star, Catinca Untaru, is now twelve, and she proved an articulate charmer as she answered questions after the screening.

Ramin Bahrani with Catinca Untaru and her family.

The next film was Sita Sings the Blues, a marvelously imaginative animated feature by Nina Paley. I had seen the film two weeks earlier at the Wisconsin Film Festival, and it was a treat to see it on the big screen again. It’s available for download in various formats here. I had the pleasure of moderating the discussion afterward, and I like the film so much that I’ll be blogging on it separately, including a transcript of the Q&A.

Tattling and bullying

DB here:

A Belgian friend, the late Michel Apers, admired American films above all others. One of the reasons, he explained, was that our films analyzed our political system with uncommon clarity. No other national cinema, he claimed, focused so insistently on the mechanisms and purposes of government, on the duties of citizenship, and on the dilemmas of public life. Not wanting to seem too chauvinistic, I said that we often failed to fulfill our nation’s ideals. “Of course,” he said. “But at least you have ideals. And your films show that it is not easy to live up to them.”

Michel’s remarks reminded me that we do have a tradition of politically critical films: 1930s films opposing lynching and hate groups, 1940s films about political corruption, still later movies like Twelve Angry Men and The Best Man and The Manchurian Candidate. Directors who contributed to this tradition include John Ford (Young Mr. Lincoln, The Last Hurrah), Otto Preminger (Advise and Consent especially), and Alan J. Pakula (All the President’s Men, The Parallax View, Rollover, The Pelican Brief).

Rod Lurie’s favorite film is All the President’s Men, which ought to tell you where his heart is. He made The Contender (2000), a subtle drama about a woman nominated for Vice-President. It has the trappings of a political thriller (the conspiracy at its heart echoes Chappaquiddock, as well as Blow-Out), but that’s just the bait for its serious questions. Graced by a warm but steely performance by Joan Allen, The Contender asks whether a woman in politics is held to a higher standard of sexual conduct than a man would be.

I thought of Michel Apers’ remarks when I watched Lurie’s Nothing But the Truth (2008) at this year’s Ebertfest. The plot revolves around a reporter, Rachel Armstrong (Kate Beckinsale), who outs covert CIA agent Eric van Doren (Vera Farmiga, her of the admirably crooked smile). Rachel refuses to divulge her source and goes to jail. Again, there’s a mystery to draw us through the plot: Who is the source? But more important is the problem of whether a reporter should be forced to name sources in a case that breaches national security. It’s the sort of issue that Preminger or Pakula would have loved to tackle.

Lurie’s film is as close to a Shavian drama of ideas as I’ve seen in recent American movies. Patton Dubois (Matt Dillon), the prosecutor trying to worm the truth out of Rachel, has plenty of reasonable arguments on his side. During the post-film discussion, Dillon suggested that he leaned toward Dubois’ position: No one should have the power to destroy a person’s career in a sensitive job and go unpunished. In the film, Rachel’s lawyer Alan Burnside (Alan Alda) responds to Dubois with principled refutations, as well as a few pragmatic ones. After all, if Rachel is forced to talk, no whistle-blowers will be likely to step forward. See Roger’s recent review for more thoughts on the political implications.

While the debate plays out, Rachel languishes in jail, her family and career dissolving. The case has some analogies to the Valerie Plame incident, but Lurie stressed that the film takes on a similar situation but not comparable characters. He was inspired as much by Susan McDougal’s tenacious loyalty to Bill Clinton.

The film’s secret about Rachel’s source is no mere Macguffin. It provides a powerful supplementary reason for Rachel’s silence, yet it doesn’t wholly excuse it. The film’s last scene leaves you wondering whether Rachel exploited her source. The film’s last shot suggests that she’s wondering too. That shot also wraps up a visual motif that hangs Rachel’s face on one extreme edge of the 2.40 frame, making her look precarious and vulnerable.

All in all, Nothing But the Truth is a sober, unsensational, gripping film about the press’s rights and obligations. It’s not surprising that Lurie was a professional journalist. During the Q & A, the questions were probing and he responded with rapid-fire, well-shaped sentences. There was good humor as well. After Lurie promised to tell us who slept with whom on the shoot, he paused and said: “All I’ll say is that Alan Alda was a complete slut.”

The opportunity for ordinary moviegoers to talk with such gifted and committed filmmakers makes Ebertfest one of the great film festivals on this continent. Roger’s urge to communicate with as many people as possible naturally inclines him toward creating communities, and the folks who gather annually in the Virginia Theatre form one of the most genial and generous group of movie lovers I’ve ever encountered.

500 Days of Summer is a Fox Searchlight Pictures movie, starring Joseph Gordon-Leviit and Zooey Deschanel. Learn more about the film, plus check out pictures, and the 500 Days of Summer trailer here.

500 Days of Summer is an upcoming Fox Searchlight Pictures romantic comedy, directed by Marc Webb. The movie is being produced by Mark Waters, and will star Joseph Gordon-Leviit and Zooey Deschanel. This film afforded Deschanel and Gordon-Levitt the opportunity to work together for the second time, with the first being the movie Manic.

Here’s the rundown for the 500 Days of Summer movie.

The film revolves around a woman named Summer, who doesn’t believe that true love exists, and a hopeless romantic named Tom, who falls for Summer. Over the 500 day period the story progresses in a non-linear manner from Tom’s perspective. One day he is overjoyed and then the next he falls into depression. The movie features a Kick-@ss sound track that includes the songs “Us” and “Hero” by Regina Spektor, and “Sweet Disposition” by The Temper Trap.

The flick won a fair amount of attention at the Sundance Film Festival, and received high reviews.

“Not only is this delightfully surprising dissection of a romance structured so that it catches us continually off guard, but the classic tale of love unrequited is turned as topsy-turvy as a Shakespearian farce.”

500 Days of Summer began principal photography in 2008, shooting in Los Angeles. It is set to be released July 17, 2009.

Check out cast pictures, and the 500 Days of Summer Trailer below.