In the earlier part of this decade, Woody Allen seemed to specialize in comedy alone -- 2000's Small Time Crooks, 2001's The Curse of the Jade Scorpion, 2002's Hollywood Ending, 2003's Anything Else -- and then he opted to switch gears after 2005's genre-divided Melinda and Melinda, following that up with dramas Match Point later that year, and both Cassandra's Dream and Vicky Crisitina Barcelona in 2008. (We'll skip 2006's Scoop, since everyone else did.)

Whew. My point is, even with a comedic prospect on the horizon with next year's Whatever Works, now is as good a time as ever to relish this New York Times piece he did in the manner of a production diary on the set of Barcelona. Mind you, only "excerpts" are provided, so instead of botching them all, let me just share one favorite portion:

"JUNE 20 - Barcelona is a marvelous city. Crowds turn out in the streets to watch us work. Mercifully they realize I've no time to give autographs, and so they ask only the cast members..."

See? There's the self-deprecating filmmaker we know and love and moderately miss. I for one will take this as a sign of funnier things to come.

"What fresh hell is this?"
-Dorothy Parker, reportedly as she cast her first glance upon a poster for Disaster Movie

Let's get this out of the way: Disaster Movie is indeed a disaster first, and a movie barely, pure pop culture pablum for da masses (say it aloud, there you go) as can only be expected from the likes of Aaron Seltzer and Jason Friedberg. It's another opus that, despite opening titles done in the style of Armageddon's and a feeble thru-line borrowed from Cloverfield (mixed with some of The Day After Tomorrow), is as much a send-up of disaster-related films as Epic Movie was a spoof of actual epic movies.

It takes two minutes for the first crotch shot, four minutes for the first belch gag, thirty for someone to get breast milk on their face, forty-five for someone to get feces on their face, and about sixty for a record scratch to tell us that something peculiar just happened. In between, the characters relentlessly name-check movies and celebrities and websites and any other manner of the vaguely familiar, the bulk of which I've taken to listing below (because if you're still going to see this willingly, I still doubt that you care much for reading at all).

(As for the rest of you: You're welcome.)

The last weekend of the summer means the multiplexes will be crammed with Hollywood's leftover products, most of them rolled out without being screened for critics (never a good sign). But don't despair! The Indie Spotlight is here to fill you in on the limited-release, art-house films opening this weekend, and if they're not playing where you live, you can keep an eye out for when they do arrive. See, it gives you something to look forward to!

The six films opening today are, in alphabetical order: Ballet Shoes, I Served the King of England, My Mexican Shivah, Sukiyaki Western Django, Year of the Fish, and Young People F***ing. In a slightly more subjective order, here's the scoop on each of them.

Sukiyaki Western Django
What it is: A comedic Japanese tribute to the spaghetti Westerns, featuring Quentin Tarantino in a small role and directed by the twisted Takashi Miike.
What they're saying: The reviews are about evenly split at Rotten Tomatoes. Some say it's a one-joke movie that's all style and no substance; others say the sheer insanity of it makes it entertaining.
Where it's playing: New York City (Landmark Sunshine Cinema). Opens in L.A. on Sept. 12.
Official site: Taste the sukiyaki.

I Served the King of England
What it is: A comedy/drama about a man working at a fancy Prague hotel under the Nazis and then under the communists. It was the Czech Republic's official Oscar entry this year, though it didn't wind up getting nominated.
What they're saying: Every single review at Rotten Tomatoes is positive ("darkly humorous," "intelligent," "witty") -- every single review except for one, that is, by Jeffrey M. Anderson, who is also one of Cinematical's finest writers. Why you gotta be different, Jeff?
Where it's playing: New York City (Lincoln Plaza Cinemas, Quad Cinemas), Los Angeles (Laemmle Royal, Regency South Coast Village in Costa Mesa, Laemmle Playhouse 7 in Pasadena), San Francisco (Embarcadero Center Cinemas).
Official site: It's in English!

*Warning: Clip contains foul language.*

Only nine years ago, Ron Livingston played the young, fax machine-stealing, disgruntled worker Peter Gibbons in Office Space. Whoever would've thought that less than a decade later, he'd head back to the office to be an aging businessman. Man, Hollywood is tough on age.

Variety reports the Livingston will lead an indie comedy called The Company Men, that Raul Sanchez will direct from his own screenplay. As the star, Ron gets to be "an aging businessman who struggles with a collapsing economy as he tries to save a sinking company." I guess the over-the-hill moniker sticks (Livingston is 41). It'll be interesting to see how this lives up to the cult favorite, and fan expectations. But really, the big question is: Will he use a red Swingline stapler?

Meanwhile, Livingston has a co-starring gig in The Time Traveler's Wife, which hits screens on Christmas Day.

Last year was great for American independent cinema; this year, not so much. The lineup for the 35th annual Telluride Film Festival has been announced, and only two U.S. filmmakers made the cut -- Paul Schrader (Adam Resurrected) and Tim Disney (American Violet). In addition, David Fincher will be there to screen his cut of Zodiac and to accept the festival's Silver Medallion.

According to Michael Jones at Variety's festival blog, the scarcity of U.S. films is simply the result of not very many homegrown films being submitted. Some likely candidates, like Darren Aronofsky's The Wrestler and the Coens' Burn After Reading, chose to focus on other festivals. Other contenders, like Revolutionary Road, Milk, and W., aren't done yet. The writers' strike and the big studios' ongoing financial problems with their art house divisions also contributed to the dearth of American product.

It looks like a fantastic foreign lineup, though, with 22 films from 14 different countries. You can see the full list here (and there might be some late additions), but some of the highlights include: Mike Leigh's Happy-Go-Lucky (U.K.), Philippe Claudel's I've Loved You So Long (France), Kim Ji-Woon's The Good, the Bad and the Weird (South Korea), and Ari Folman's animated Waltz with Bashir (Israel).

The Telluride fest takes place over Labor Day Weekend every year in the small mountain town in southwestern Colorado. To maintain its reputation as a down-to-earth, unglamorous, it's-all-about-the-movies festival, the organizers don't announce the lineup until the last minute, thus avoiding most of the hype and celebrity-gawking that plagues Sundance. Cinematical's Kim Voynar is there, so watch for her coverage over the weekend.

As Eric wrote yesterday, the upcoming dark comedy Towelhead is facing a protest from an Islamic group because of its title, which is perceived as derogatory and a racial slur. Not only is the film's distributor, Warner Independent, sticking by the title, but they have issued a press release containing lengthy, candid, and sometimes even moving responses to the controversy from: 1) Alicia Erian, the author of the original novel; 2) Alan Ball, the director of the film; 3) Warner Independent itself; and 4) a group of theologians.

Erian makes pretty much the same argument as Eric did in yesterday's post: that the title serves to highlight the racism its protagonist must contend with. She notes that her novel has been in print for three years and this is the first protest she has received. She also makes the excellent point that "[r]ealistically speaking . . . [people who are likely to use terms like "towelhead" to refer to Muslims] are neither the audience for my book, nor for the film. They will continue to use whatever language they wish whether or not a movie called Towelhead is released." Yes.

Ball refers to his own experience facing discrimination as a gay man, and argues that forbidding hateful words only increases their power. The distributor offers an apology but claims to stand by Ball and Erian in the name of free expression of ideas. The scholars note that this is one of the few films to show Islam in a positive light, and call the title "a thought-provoking and difficult term that needs to be deconstructed." You can read the whole thing over at David Poland's blog.

So there you go. I agree with the responses on the merits, but I really like the public relations tack Warner Independent has taken here. Honest discussion and argument are so much better than mindless PR spin -- and better PR, too.

You think Hilary Swank would have learned her lesson after finding deep love that died way too early and left her with a suspenders scar. You'd also think she might be wary about her involvement in perky fare, since her forays into the genre haven't brought her as much success as her dramatic work. Guess not.

Swank is going nuts scooping up projects to produce and star in. Earlier this month, she was looking at Fat, and now Variety reports that she wants to backstab her best friend. Along with producing partner Molly Smith she's grabbed Emily Giffin's debut novel, Something Borrowed. Instead of borrowing, say, a hairbrush, she's stealing her friend's man. This potential starring vehicle for the actress focuses on a "Manhattan attorney who becomes involved with her best friend's fiance following her 30th birthday." Yes, her best friend since elementary school. Oh, but before you think she's the only jerk -- the woman realizes she's in love with the man and sick of her manipulative friend. Wait. That's still jerky.

The project is out to writers, and Swank has already practiced one unhappy-lookin face (look to the upper right).

When two guys with a dozen episodes of The Office and an upcoming Judd Apatow project between them (that'd be next summer's biblical comedy Year One), I'd be willing to see what else they've got up their combined sleeve. For Lee Eisenberg and Gene Stupnitsky, that sleeve is home to Bad Teacher, the spec script that Columbia just picked up.

According to Variety, the story concerns "a foul-mouthed, gold-digging seventh-grade teacher who's dumped by her sugar-daddy boyfriend and turns her attention toward a colleague. That pits her against a rival who happens to be the school's model teacher." So at the risk of sounding shallow, it sounds like the Bad Santa of all those inspirational teacher movies that Dana Marschz would hold dear -- the prospect of which, by the way, I'm totally down for.

Now, what's going to be most critical here is the casting. At the moment, it's hard for me to not recommend Anna Faris for just about any part, although it'd be interesting to see her take on something a little more crass. What do you guys think? Who would you believe could not only land a job as a teacher, but then keep it in spite of harassing students (in the name of comedy, mind you)?

For the longest time -- until earlier this week, in fact -- I was convinced that Jason Reitman's next directing project was Diablo Cody's horror flick Jennifer's Body. Maybe that's because at a Team Juno roundtable interview last year, the two of them talked about it like it was their project (which it is, sort of -- Reitman's producing). Anyway, it's actually Karyn "Aeon Flux" Kusama who is directing Cody's follow-up, while Reitman is moving on to helm an adaptation of Walter Kirn's Up in the Air.

I strongly recommend the novel, which is a terrific satire about a perpetually transitory businessman obsessed with collecting a million frequent flyer miles. I liked it better than Kirn's more popular Thumbsucker which was already adapted into a film. The movie could be very funny in the hands of a guy like Reitman -- sharp and insightful. It should be closer in tone to Thank You for Smoking than to Juno.

Reitman has already shifted the project into a higher gear by setting his sights on George Clooney, who's in talks to star as the narcissistic protagonist. While I'm pretty sure the character is quite a bit younger than the actor, Clooney has precisely the effortless comic chops this project needs. His profile won't hurt, either.