Men on a mission! Naked women shooting machine guns! Wildly inappropriate hair styles! The recent arrival of Enzo G. Castellari's The Inglorious Bastards on DVD makes clear that the movie is an entertaining, stylish adventure in its own right, justly deserving its reputation as a Eurocult genre gem. Inevitably, it also prompts speculation about what exactly Quentin Tarantino will do with his upcoming version, especially since the DVD features an extended conversation between Tarantino and Castellari about their respective visions.

The 1978 original doesn't have a "bat-wielding Nazi hunter," as one character has been recently described in casting talks for Tarantino's version, though it is set in World War II France. Miscreant Bo Svenson and murderer Fred Williamson are headed to military jail when their convoy is attacked by the Germans. The handful of surviving deserters plan to escape to neutral Switzerland before they end up on a suicide mission for the Allies under the command of Colonel Bruckner (Ian Bannen).

The men take a jaunty trip through a cartoon wonderland constructed out of Hollywood fantasy and Italian wish fulfillment. The film only rarely intersects with real life, instead inhabiting a world of wisecracks and world-weary warriors whose guns never run out of bullets. Castellari is such a brilliant director, though, that The Inglorious Bastards fairly pops off the screen with energetic fervor in nearly every sequence.

As such, it serves as a fabulous blueprint that Tarantino has probably drawn upon, ripped apart, and reassembled.

Now this is the kind of offbeat casting you expect out of Quentin Tarantino -- except that, really, it's not that unusual for him to cast his pals, so it makes a guy like Leonardo DiCaprio an edgier pick. Oh, that crazy Tarantino!

According to Variety, Eli Roth is set to play Sgt. Donnie Donowitz, "a baseball bat swinging Nazi hunter" in Tarantino's already much-discussed Inglorious Bastards. Brad Pitt is still "in talks" for Aldo Raine, but it would be a shocker if it wasn't official. Pitt and Roth, together at last, the pair-up the world never knew it wanted.

DiCaprio has gone from "in talks" to "eliminated." He was being considered for the part of SS Col Hans Landa, but Tarantino has decided that part should be played by a real live German. This is probably a good idea, as the last thing any film needs is a wonky accent. I do find it funny that when it comes to accuracy, this is one movie that is determined to have a real German, as opposed to the dozens of films that ignore portraying race, ethnicity, and culture!

The cast is expected to be formalized shortly, and filming to begin in Europe this fall. Given that Tarantino is looking to his friends to fill the empty slots, I am still betting Tim Roth and Michael Madsen will pop up somewhere. Who else do you expect to pop up in Bastards, readers? And what do you think of Roth's addition?

It's rather eerie when your private wishes suddenly appear in the trades. I'm in the middle of reading Steven Pressfield's Gates of Fire, which made me long for another Greek epic. Now, Columbia is giving me one. According to Variety, the studio has optioned the Greek classic Anabasis, Xenophon's firsthand account of the journey of the Ten Thousand.

The tale of the Ten Thousand is, perhaps, lesser known to popular culture as the 300 Spartans (even if it did inspire The Warriors), but it's no less compelling. They were an army of Greek mercenaries hired by Cyrus the Younger to aid him in seizing the Persian throne from his brother, Artaxerxes II. His expedition proved to be a failure, and the Greeks found themselves stranded deep into enemy territory. Their Spartan general was killed, as were other senior officers, and it was up to Xenophon to try to encourage the ten thousand to make the journey home to Greece. If you're into history at all, read it, and marvel at the toughness of the ancients.

No director has been named, but the script is being penned by Robert Schenkkan, who was responsible for HBO's The Pacific. Production duties will be split by Jimmy Miller (known more for Will Ferrell comedies) and Robbie and Jonathan Stamp, who both know their historical epics. They were consultants on the outstanding Rome, that HBO series I'm constantly going on about. Apparently, just about everyone involved in this project is an ancient history nut, and is hoping this will be the first of many historical epics. Given its pedigree and primary source material, my expectations are high. Don't disappoint me, Columbia!

I was just re-watching Eugene Jarecki's terrific documentary Why We Fight the other day and wondering, "man, how did this not win an Oscar?" Both its ineligibility and the strength of the 2006 feature documentary category aside, it's a really great visual essay on the problems of the U.S. military -- particularly the allowance for the military industrial complex to grow so large -- since the mid-20th century. If you've never seen it, you should. It'll bring you up to speed right up to the Iraq War (and feel free to make it an informative double feature by following it up with Charles Ferguson's No End in Sight).

For his next feature, Jarecki is sticking to the subject of war, though he's going back and focusing on Vietnam, specifically the evacuation of U.S. troops from Saigon in 1975 (maybe it can parallel an exit from Iraq? huh? maybe?). He and screenwriter Jesse Wigutow (It Runs in the Family) are basing the doc, titled Irreparable Harm, on former CIA agent Frank Snepp's book "Irreparable Harm: A Firsthand Account of How One Agent Took on the CIA in an Epic Battle Over Free Speech," which details the author's struggle with the federal government after he published his Saigon evacuation document, "Decent Interval."

Jarecki's film, which is being produced for HBO Films, will be more about Snepp than on the history, and hopefully that won't get him in trouble with the feds too. Also, here's hoping that Irreparable Harm at least makes Jarecki eligible to be nominated for the Oscar he deserves.

The casting rumors for Quentin Tarantino's Inglorious Bastards just keep circulating -- I'm dying for something to be confirmed, already! Brad Pitt was rumored to be in talks for the key role of Aldo Raine, and given that Tarantino flew all the way to France to meet with him suggests it's more than idle talk.

Now, according to Variety, Tarantino wants Leonardo DiCaprio to play Hans Landa, and is meeting with the actor on Thursday to discuss the part with him. This would be DiCaprio's first time working with Tarantino, and frankly, it would be a nice break from his Martin Scorcese trend. DiCaprio is another one of those actors with a pre-production list a mile long, so a scheduling conflict could manage to keep him out of the movie.

While I was really behind the idea of Pitt, I'm not sure how I feel about DiCaprio. Don't get me wrong, I really like him, but he's becoming the go-to guy for just about every film that's in production. Plus, Tarantino is pretty famous for his inspired and offbeat casting. Hiring two of Hollywood's golden boys (and I mean that in a nice way) seems a little pedestrian. But Tarantino is anything but predictable, and he can coax surprising performances out of all sorts of actors. What looks rather uninspiring from the outside could be one of his best ensembles yet. What do you think?

Yes, we're heading back to the Cuban Missile Crisis for a new film. However, the spotlight won't be focusing on the Fidel Castro-led island just south of Key West. Variety reports that Fox 2000 has grabbed the screen rights to Michael Dobbs' book called One Minute to Midnight: Kennedy, Krushchev, and Castro on the Brink of Nuclear War. Changing things up a bit, so as to not tread on already familiar cinema territory, the film will focus on an incident that occurred at the same time -- up north in Alaska.

While all the main players were tensely trying to avoid a nuclear war, "a U-2 pilot took off from Alaska, lost his bearings, and ventured inside the Soviet Union." Talk about a really dumb mistake. So the guy figures out that he's gone off-course, his plane is about to run out of gas, Soviet planes are waiting to take him down, and he's got to try to get back to safe land. Oh, and just in case that wasn't enough fear for the poor dude, he'd previously spent 600 days as a POW in Korea.

It'll be a while before this hits the screen, but for now, you can go out and read the book for yourself -- this is actually one of those texts that got picked up after its release.

When Kimberly Peirce gave us Boys Don't Cry, it was a critical explosion. She came, she moved us, and Hilary Swank came out of it with an Oscar. The film raised our expectations, and they rested there as Peirce moved out of the spotlight and worked behind the camera. The wait lasted almost a decade, but after nine years, she was finally back with Stop Loss -- another film in the cinematic, Iraq War whirlwind. While it was destined to fall under the weight of Iraq apathy, it was another example of Peirce's commitment to personal stories.

Stop Loss is the fictional account of a real problem: over a hundred thousand soldiers have been denied release when their time in Iraq is up. Instead of best wishes, they're sent back to Iraq, and life beyond the war's struggles becomes a distant, vague hope, rather than a present reality. Ryan Phillipe stars as Sgt. Brandon King, a man who is headed towards the end of his time in Iraq, or so he thinks. First, his unit is tricked and attacked. He loses some of his men, and struggles with the realities of warfare -- dead friends, and the fact that no matter how hard you try, innocent people will fall in the fight.

After an explosive entry to the cinematic world with the hard-hitting, Academy Award-winning Boys Don't Cry, Kimberly Peirce backed away from the movie spotlight. However, it wasn't a vacation. During her hiatus, she worked on a project that came to be Stop Loss, which hits DVD shelves today. Last week, Cinematical got the chance to talk to the director about the film, how she approaches filmmaking, and what her plans for the future are. It's a great discussion about how her life influences her work, and vice versa, and it's quite interesting when she discusses casting with a military metaphor.

However, her work's not done in the world of stop loss. While the movie is out to audiences, she continues to champion the soldiers suffering due to this practice. She's speaking in Washington, D.C. on the matter, and helping the cause through stoplossmovie.com -- where you can check out a collection of videos made by soldiers and their families.

If you still haven't watched any of the million documentaries about the Iraq War because you're still not quite ready for that kind of subject matter, you might want to check out Full Battle Rattle. It is a documentary, and it is related to the Iraq War, but you may consider it more like a simulation of a documentary about the Iraq War than an actual example. Think of it as like a practice piece until you can handle the real deal.

How is Full Battle Rattle different from the rest, you ask? Well, it's not set in Iraq or even in the Middle East. It takes place in America, in California's Mojave Desert, to be exact. It's there that the U.S. military has built a bunch of fake Iraqi towns, complete with fake Iraqi people, some of whom are played by actual Iraqi immigrants, others of whom are played by soldiers preparing for combat before being deployed overseas.

And then there are the other thousands of soldiers who basically play themselves on the unscripted side of partially scripted training exercises designed to simulate possible scenarios that they'll be faced with once they're shipped out to Iraq. In a way, watching the simulations documented in the film is like watching Civil War reenactments, except that in this case it's more like pre-enactments.

Back in May, Miramax grabbed a spec for the remake of an Israeli thriller called The Debt. Matthew Vaughn, director of Layer Cake, wrote the adaptation along with writing partner Jane Goldman. But he wasn't interested in directing it himself, for whatever reason. Now it looks like the bunch of directors who were circling the project have been whittled down to one, and according to The Hollywood Reporter, the winner is John Madden, who is currently in negotiations. (The director, obviously, not the football man.)

This is definitely an interesting choice, but one that should suit the material well. In the past, Madden has brought us literary fare like Shakespeare in Love, but he's also the man behind Mrs. Brown, Captain Corelli's Mandolin, Proof, and the new Elmore Leonard adaptation, Killshot.

To refresh your memories, this is the story of three Mossad agents who learn that an old Nazi criminal they had captured years ago is still alive. The problem is: The man had escaped their clutches, so they just claimed he committed suicide to save their skins. With the war criminal alive and ready to admit to his crimes, the agents set out to finish the job and save their reputations.