These people just landed a part in a movie and you didn't:

Sorry boys, but Jessica Alba has officially become a math nerd. Oh yes, Variety tells us the actress has signed on to star in An Invisible Sign of My Own, based on the book by Aimee Bender. Marilyn Agrelo (Mad Hot Ballroom) will direct the flick, which follows a woman who becomes obsessed with numbers and math ... and then lands a gig as a second-grade math teacher. Hot, steamy gratuitous love-making scene not included.

Val Kilmer has decided he needs more action in his life, as the dude has hopped onboard the crime thriller Fake Identity for Nu Image/Millennium Films. The film, to be directed by Dennis Dimster-Denk (or Triple D, as I like to call him), tells of a doctor (Kilmer) who, while working in Chechnya, helps a woman escape from her would-be assailant and then watches a whole movie's worth of crazy stuff happen to him. (Variety)

I know, I've totally been waiting for Michael Caine to kick some serious ass too! Luckily, Variety tells us the actor has joined the British crime thriller Harry Brown. Who's Harry Brown, you ask? Well, he's an "elderly former serviceman drawn to vigilantism while living in a run-down 'burb rife with gangs, guns and drugs." Daniel Barber directs, while Emily Mortimer co-stars as a policewoman. And LL Cool J raps ... "Caine gonna knock you out ..."

After a massive, all-night bidding war, Variety's Anne Thompson reports that Fox Searchlight has snagged The Wrestler for roughly $4 million, marking the first big purchase of the 2008 Toronto International Film Festival. Following its Golden Lion win in Venice and a Toronto premiere that left folks buzzing up a storm, Searchlight, along with Overture, Lionsgate, Weinstein Co. and Sony, began bidding on the flick, which some say solidifies a sure-fire Oscar nod for Mickey Rourke. In the end, it would appear that Searchlight won out ... and after a very successful marketing campaign last year for Juno (which landed all sorts of recognition), it should be interesting to see what Searchlight does with this.

So far all the talk has surrounded Mickey Rourke, with folks calling him the comeback kid, what have you -- but not for nothing, I think we have a nice little comeback story for director Darren Aronofsky as well. Great vibes with this one; I look forward to seeing it. Remember when Nic Cage was signed on to this? Heh. Bangkok Dangerous. Double heh. Check out this preview video from Venice, and look for much more on The Wrestler from Cinematical in the next couple of days.

After years of turning down any and all parties who inquired after the film rights for his novel Blindness, Nobel Prize-winning novelist Jose Saramago finally relented to the director-writer team of Fernando Meirelles and Don McKellar after years of cajoling and convincing. McKellar also has a part in the final film, a sprawling story of ruin and redemption that spanned the globe in its production that's been significantly re-cut -- and significiantly improved -- from the version first unveilled in Cannes in May. McKellar spoke with Cinematical in Toronto about the re-cut version of the film, the secret thread between his brilliant directorial debut Last Night and Blindness (" ... my paranoia about the apocalypse hadn't been resolved yet ..."), how Hurricaine Katrina influenced the look of Blindness, the need for humor at the end of the world and much more. ...

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Will Smith really wants a crack at the ancient history epic, and this time it looks like he's going to get it. According to Variety, Smith has hired the go-to guy for historical epics, Randall Wallace, to pen The Last Pharaoh for him to star in.

It won't actually be about the last pharaoh of Egypt (Cleopatra still holds that distinction),
but Taharqa, a member of the Nubian dynasty of Egypt, who ruled from 690 to 664 B.C.E. Mentioned by Greek historian Strabo as one of the greatest military tacticians in the world, he's believed to be Tirhakah, king of Ethopia, who's mentioned in the Old Testament as driving Assyrian king Sennacherib away from destroying Jerusalem. Taharqa wasn't just a fighter, though -- he was devoted to peaceful works like restoring temples, and building sanctuaries all over Nubia and Egypt. Nevertheless, his biggest claim to fame is fighting the Assyrians, who invaded Egypt in 677. He didn't exactly defeat them -- they took Memphis and established the 26th dynasty, and Taharqa was driven back to Nubia, where he died in 664.

It definitely has the potential of an action packed story, but I'm curious as to how it's going to be fleshed out. With Wallace (nearly) at the helm, I am willing to bet Taharqa will become a mix of King Leonidas and William Wallace. The saving of Jerusalem is, I think, the high point of the story and has the most historical relevance ... but it's not as romantic as defending one's homeland, and that's reportedly what the film will focus on. And Wallace's scripts tend to be heavy on the romance, iffy on the accuracy. Still, it will be very interesting to see Smith in a sword-and-sandals epic, and I'll watch ancients hack each other onscreen anytime. What about you?

This week, the eyes have it. We're looking at films for which vision is key.

Knowing
Nicolas Cage has the only new film going into wide release this week with Bangkok Dangerous, but frankly this tale of prophetic doom better grabs my attention. Cage plays a school teacher who digs up a time capsule and finds several pages of hand written numbers. He finds dates within those numbers, each of which corresponds to a major disaster that has occurred since the capsule was buried. More importantly the numbers apparently list disasters which have yet to occur. I'd be a little more enthusiastic if Cage's record hadn't been so hit and miss lately. (Ghost Rider? Puh-leeze.) Still the premise sounds kind of cool, despite reminding me of the lackluster The Number 23, and there's a disaster in the trailer that's pretty chilling, especially if you've ever been to Logan Airport in Boston. The preview is pushing the fact that director Alex Proyas helmed I, Robot, but I'm more impressed that he was the man behind the excellent Dark City.

Milk
This one isn't so much about visions of the future as visions for the future. Gus Van Sant directs and Sean Penn stars in this true story about Harvey Milk, who in 1977 became the first openly gay man to hold public office in the United States. Penn is engaging in the role, and we see him struggle against bigotry and death threats to give a voice to the gay community. I wasn't familiar with Milk's story, but now I'm curious. Here's William's take on the trailer.

In last year's Best Picture winner, No Country for Old Men, Tommy Lee Jones played a weary sheriff chasing after a man who was chasing after some money. Well, according to the San Antonio Express-News, Jones is now himself a weary man chasing after some money, specifically from the pockets of Paramount.

It appears that a contract signed by Jones between Paramount and its subsidiary, N.M. Classics, Inc. contained two "mistakes" that may have prevented him from garnering up to, and perhaps upwards of, $10 million in the wake of the film's success. What's worse is that he was still deducted for any number of expenses, despite alleged awareness of the errors on the part of Paramount. As such, Jones wants an auditor to go through their books and figure out just how much he is owed.

Naturally, neither side of the case has made much in terms of formal comment. As his character might say, if this ain't a mess, it'll do 'til the mess gets here.

[Thanks to Movie City News for the tip.]

Outwardly confident yet quietly insecure, 18-year-old Venkatesh Chavan climbs into a tree and stares at a pristine pool. He's a domestic worker at a nearby hotel in the Indian coastal city of Panjim, Goa, and he's ambitious enough to know that he wants something more, even if he doesn't know what, exactly. He performs his duties, meets his considerably younger friend Jhangir Badshah to sell plastic bags to earn extra money, studies the untouched pool and the surrounding, uninhabitated house and garden grounds, and retires for the night.

Boiled down to its essence, The Pool, which opened in New York earlier this week and will expand across the country in the coming weeks, is an apparently obvious tale that unexpectedly yet inexorably immerses the viewer in the lives of four characters that, like the pool itself, are deeper than they appear from the surface.

Venkatesh, for example, gives the appearance of an industrious young man, though he's constantly late for work and is bored by his daily routine. Opportunity comes knocking when a young woman (Ayesha Mohan) and her father (Nana Patekar) show up at the pool. The girl is insolent and rebellious, the man is gruff and stern. She reads intently, he tends impassively to the garden. After a period of observation from his perch in a tree, Venkatesh follows the man and quietly makes his presence known as the man shops for garden supplies at a nursery. Soon enough, the man, who is never named in the film, hires Venkatesh to help him in the garden, where he is introduced to daughter Ayesha.

Paris 36 tries to do a dozen different things, and does none of them well. But even that description may not be harsh enough, because it makes the film sound ambitious. It's not. Director Christophe Barratier, whose The Chorus was a quality rendition of an age-old formula, doesn't even pretend to give much thought to any of the disparate elements he assembles here. This is one of those middlebrow period-piece comedies that mistakes frenzy for energy and spotless soundstage gloss for visual style. It may play well with certain audiences for whom "arthouse" is synonymous with "no explosions," but there's really nothing to see here.

Well, in theory there's a lot to see, including but not limited to the following: a would-be portrait of the French Popular Front in the 1930's; the story of a bunch of unemployed workers banding together to put on a show and save a historic theater; the tragedy of an old workhorse (Gérard Jugnot) who loses custody of his accordion prodigy son to his cheating wife when the theater first closes down; a romance between a communist rabblerouser (and stagehand, and actor!) and a singing ingénue (Nora Arnezeder) taken under the wing of a fascist loan shark (Bernard-Pierre Donnadieu); the spiritual rebirth of an old orchestra conductor who has spent the last 20 years alone with his radio; a no-talent comic (Kad Merad) who sinks to performing for the Nazis after being booed off stage by everyone else, though he is of course much too lovable to actually be an anti-Semite.

Funny, too, because my friends and I were just discussing Inside Man last night. My good pal has a thing for when Denzel yells, "This ain't no robbery!" -- and for some odd reason, he's always saying it (in Denzel's voice). Everyone has THAT quote-crazy friend, ya know? But anyway, The Hollywood Reporter tells us that Spike Lee is moving forward with a sequel to Inside Man over at Universal -- a project that's been in the works for awhile now, but took a backseat when Lee decided to make Miracle at St. Anna. The director would return to the film in the same role, with Terry George (Hotel Rwanda, Reservation Road) currently in negotiations to write the screenplay.

Universal and Lee made a killing on the first Inside Man, which, in my opinion, was one of the more enjoyable heist flicks of the past few years, and so it's no surprise they're looking to dive in for more. Though they're not signed on yet, both Denzel Washington and Clive Owen are interested in reprising their roles -- and THR says the sequel will "continue the relationship between the two man characters but in a new high-tension situation." Not a big fan of the "it made $175 million so we have to do the sequel" thought process, but if there's a duo I'd like to see reunited on screen, it would be Clive and Denzel. Both were excellent in the first film.

What do you think? Down for more Inside Man? And where could you see them taking these characters?