“Isn’t it funny? You hear a phone ring and it could be anybody. But ringing phone has to be answered, doesn’t it?” I don’t think there is anyone out there who doesn’t agree at this point that Joel Schumacher has lost his edge. But before falling of the face of the earth with films like The Phantom of the Opera and The Number 23, he delivered what would be his last great film: The 2003 morality thriller Phone Booth. Stu Shepard is a publicist working in New York City, and he’s everything except a decent human being. From his wife, to his “girlfriend” and his personal assistant, Stu takes advantage of everyone and everything at his disposal. Little did he know how everything was going to change once he picked up the phone today.

While Neil is hitting on indie rock chicks during the second half of the SXSW film festival, Kevin is left at home finding a guest host. So, he calls on Kelly Gingery from FlickChick.tv to help him out. They lament the problems with The Bounty Hunter and take wild guesses about Diary of a Wimpy Kid and Repo Men.

Some sound gremlins invade the Magical Studio in the Sky as Neil prepares for drinking and partying at SXSW. Neil is also recovering from a bout with food poisoning while Kevin is recovering from seeing Robert Pattinson’s Remember Me (and Kevin insists he suffered more).

Hollywood has been singing a tune in the key of music biopics for decades, most recently with this weekend’s release of the Christopher “Notorious BIG” Wallace biopic Notorious. We’re taking the opportunity to take a look at some of the best.

Street Kings tries so hard to be a hard-core, serious cop drama. However, with the wooden acting and alarmingly un-thuggish nature of Keanu – and the even less thuggish nature of Cedric the Entertainer – it becomes a powder-keg of silliness.

Duuuuude… It’s Keanuuuuuuu… And he’s playing a dirty cop who drinks vodka from those cute little airline bottles. Don’t we all want to be like Keanu?