Sometimes you just have to punch a wall, or perhaps a car door, or a ceramic cat – really, it’s whatever is closest. Whether it is rage, retribution, or legitimate hatred, sometimes an inanimate object just has to go down. In the moving pictures this is especially fun to watch. Much like a movie death is often more dramatic than reality, a little inanimate destruction goes a long way.

Joe Carnahan’s Liam Neeson vs. wolves thriller The Grey isn’t just one of the most well-regarded releases of this year so far, it’s also a grizzled, badass guy’s film the likes of which we haven’t seen in a while. So you would think Hollywood should be lining up to help Carnahan slip into his next tough guy-themed project as soon as possible. And thankfully, they are. Twitch has word that Carnahan has been given the go-ahead by 20th Century Fox to start work on a passion project he’s been trying to develop for a while called Continue. It’s an action-centric take on the story trope of a protagonist having to re-live the same events over and over again; kind of like a Groundhog Day with guns, or that episode of Star Trek: The Next Generation where the same attack keeps happening, but not in space. Carnahan’s story is about a former soldier who has to keep reliving the day where assassins came to kill him for unknown reasons. Days like that are the worst.

Hunger is the reason mankind first decided to kill – one imagines. Surely, the first time someone domed a boar with a stick they didn’t do it just to be a dick about it. This is why when a movie does food right the result is extremely powerful; you can close your eyes and try to forget a sad or scary scene in a film, but if a scene makes you hungry there’s no going back from that. Here are some scenes that you’ll no doubt wish you didn’t watch – scenes that make you hungry, no matter your preference, because sometimes food just looks good.

So I was watching the film The Descendants, and I couldn’t help but to laugh my ass off when the grandfather points to Nick Krause’s dumb-ass character and says “I’m going to hit you.” – Then, without any room for discussion he proves to be a man of his word. It got me thinking about some of the other great comedic punches out there, and soon enough I was assigning my wonder into list form. Violence and comedy together at last!

There should be a rule somewhere that Groundhog Day be committed to the vaults as one of the prime comedies of all time, such is the film’s importance to the world of cinema. It is at once a simple romantic comedy with a high-concept, easily digestible and entertaining, and yet it is also a theoretical wonder, inspiring philosophical and specifically metaphysical debate at the same time as featuring a groundhog driving a pick-up truck. That is some kind of achievement. It is also a film that inspires fierce fandom: last year, I had the temerity to calculate how many days Bill Murray spends reliving Groundhog Day. People actually queued up to pull my theories (which were supposed to be humorous) to pieces and I was left a broken, quivvering husk of a man. So this year, I’m being far more safe, and simply looking at some of the best ever Groundhog Day merchandise. I could be hilarious, and simply post the same bit of merchandise three times in a row, but that would probably only be funny to me, so I won’t.

A story has been making the rounds today that Tom Cruise is more than likely set to star in director Doug Liman’s next venture, a sci-fi film called All You Need is Kill. Variety says that the star has been courted for the role for a while and seems to be poised to take it, while Inside Movies claims that the deed has already been done and the papers are all signed up, so no matter who you believe, it’s looking like this will be a project coming, at least eventually, to a theater near you. All You Need is Kill is set to be adapted from a graphic novel of the same name by Hiroshi Sakurazaka, and the story sees Cruise’s character caught in a Groundhog Day-type time loop where he lives the same day over and over again, but with a slight twist. Okay, maybe not so slight, the twist is that the day he’s living over and over again is one where he’s battling space aliens for the very survival of the planet. Every day he goes to battle, every day he dies, and every morning he wakes up anew. Until the 158th time he gives it a go, and he meets a character called (at least in the comic) The Bitch of War, who changes everything. Sounds crazy.

What is Movie News After Dark? It ain’t messin’ with you, bub. You should know that up front. It’s only bringing you the best of the weekend’s news, tidbits and otherwise noteworthy items. It believes that you shouldn’t mess around either. That’s why it recommends reading it every single night before you go to bed. Today begins with a project that I know many of you are excited about, 20th Century Fox’s Deadpool. A perfect fit is Ryan Reynolds in the titular role, as are Zombieland writers Rhett Reese and Paul Wernick on scripting duties. This week the project got a director, effects artist Tim Miller, whose credits include X-Men, X2 and Scott Pilgrim vs. the World. He has also served as the Inferno Supervisor (read: Guy Who is In Charge of Digital Explosions) on several other projects. That’s a pretty wicked line of work.

This editorial contains spoilers for Source Code and Moon. If you haven’t seen the movies yet, go check it out first before diving in. When I watched Duncan Jones’s sophomore effort Source Code, I couldn’t help but think about how much it resembles, nearly beat for beat in its structure, his first film Moon. This is not necessarily a criticism of Source Code or Jones, as repeated thematic occupations and narrative revisitation can be the sign of the auteur, and I’ve enjoyed both his films. But the films are, admittedly, structurally identical in several ways. Both involve a lone protagonist who discovers something unexpected about their identity that changes their relationship to their given tasks (Sam Bell realizing he is a clone in Moon, Captain Colter Stevens’s “near-death” state in Source Code), and combat some form of repression against a bureaucratic organizational body (a private corporation in Moon, military scientists in Source Code) while being assisted by an empathetic, benevolent subordinate of that organization (GERTY the robot in Moon, Vera Famiga’s Captain Goodwin in Source Code). But it is rather appropriate that both of Jones’s films be so structurally similar, for the major themes connecting them, and the narratives by which those themes are exercised, are enveloped in the topic of the repetitive structures of everyday life.

You’ve stumbled upon Circle of Jerks, our sporadically published, weekly feature in which we ask the questions that really matter to our writers and readers. It’s a time to take a break from our busy lives and revel in the one thing that we all share: a deep, passionate love of movies. If you have a question you’d like answered by the FSR readers and staff, send us an email at editors@filmschoolrejects.com. What movie universe would actually want to live in? Susan C.

What is Movie News After Dark? This is a question that I am almost never asked, but I will answer it for you anyway. Movie News After Dark is FSR’s newest late-night secretion, a column dedicated to all of the news stories that slip past our daytime editorial staff and make it into my curiously chubby RSS ‘flagged’ box. It will (but is not guaranteed to) include relevant movie news, links to insightful commentary and other film-related shenanigans. I may also throw in a link to something TV-related here or there. It will also serve as my place of record for being both charming and sharp-witted, but most likely I will be neither of the two. I write this stuff late at night, what do you expect?

You’ve stumbled upon Circle of Jerks, our sporadically published, weekly feature in which we ask the questions that really matter to our writers and readers. It’s a time to take a break from our busy lives and revel in the one thing that we all share: a deep, passionate love of movies. If you have a question you’d like answered by the FSR readers and staff, send us an email at editors@filmschoolrejects.com. You guys were probably too busy watching “The Dark Knight” again to notice we had an election, but it was a pretty huge night that led my roommates and I into a discussion social change and movies. Question time: What movie actually changed your mind about a social or cultural issue? Thanks. – Ted F.

This week, on a very special episode of Reject Radio, the editor of The New Ledger and podcast host of Coffee and Markets Ben Domenech brings his velvety voice to the show to suggest that John Lithgow play a werewolf-hunting FDR, question the Spider-Man casting, and create a list of movie characters that should run for office (we’d totally vote for Judy Dench’s M). Plus, we find time to review Megamind, Due Date, and implore you to see Four Lions. Listen Here: Download This Episode

When I lived in DC, I took at least two showers a day because of the swamp heat and humidity. Even then, after reaching what could technically, numerically be called adulthood, I would find myself checking cautiously behind the curtain (from time to time) for psychotic serial killers. The bathroom, and the bathtub in particular, is an incredibly vulnerable place. After all, we are (usually) alone. We are cornered. We are naked. Many films have exploited this vulnerability, but not all of them do it for fear. In fact, it turns out that where we spend .6% of our lives can also be an incredibly poignant space. It can also be hilarious. Many films have killed characters in the bathtub, but only a few could float to the soap-covered top as the best of the best.

Fall in love with Groundhog Day all over again and again and again and again and again.