Recently, Flavorwire got a kick out of a post from Slacktory where they used that ever-present man behind the curtain called Google to see what our internet age connects with celebrities. Then, we got a kick out of Flavorwire’s answer which involved 25 famous authors and what the search engine had to say. The experiment is simple. Type a name into Google Image Search, and the program automagically suggests more words to narrow down your search. Judging from entries like “white people problems” for J.D. Salinger and “death, oven, daddy” for Sylvia Plath, it seems like Google might be kinder to famous movie directors. Some of the responses fully encapsulate the person’s artistic output while others push toward the fringe, but all are shaped by what we’re searching for. Here’s a few things Google thinks you should add to the names of some of your favorite filmmakers.

Every year, the National Film Registry announces 25 films that it will toss gently into its vault for safe keeping. This year, they’ve chosen a hell of a list, but (like every year), the movies saved act as a reminder that even in a digital world where it seems unfathomable that we’d lose art, we’re still losing art. The task of actively preserving films is an honorable, laudable one, and it’s in all of our best interests to see movies like these kept safe so that future generations (and those attending Butt-Numb-a-Thon 55) will be able to screen them as they were meant to be seen. So what 25 movies made the cut this year? Let’s explore:

While some lucky individuals have already had the chance to see Simon Curtis’ peek into the life of a sex icon My Week with Marilyn at the New York Film Festival, the rest of us plebeians have to wait until November for our own chance. Now, early buzz for the Michelle Williams (Marilyn Monroe) vehicle has been favorable, however that is not what’s piquing my interest in the project. Rather I’m curious to see the maudlin-looking Williams’ embodiment of the sexpot. Williams is of course a stunning actress when she’s dressed for award season, but we rarely see that beauty on screen as she tends to embrace homely, makeup free characters. Clearly she will add an intriguing element of wistful sadness to the woman many of us wish to be.

We’re in the middle of October, the month of Halloween, and the scariest new DVD release this week is The Zookeeper. But no one’s seriously planning on renting that film, are they? That leaves possible drinking games for Judy Moody and the Not Bummer Summer (and honestly, what third grader is going to try that?) or The Tree of Life, and a drinking game for that would get me into more trouble than my review did. So considering it’s the month for scares, and the remake/prequel/reboot/reimagining of The Thing comes out at the end of this week, plenty of folks are revisiting John Carpenter’s 1982 classic. So pour your Jim Beam into your Chess Wizard computer and crack open a Coors. It’s time to go drunk retro with this film, available on DVD, Blu-ray and Netflix Instant.

Twice before Hollywood has told tales of scandalous men achieving vast riches by selling illegal substances in movies named Scarface. The first time was in 1932, and the substance was prohibition era booze. The second time was in 1983, and the substance was cocaine. I remember watching the 1932 Scarface in a film class way back in the days when I was a lowly university student and liking it quite a bit. I’ve always thought that the 1983 version was pretty dated and indulgent though. Even with its cult status among rappers and people who like to watch Entourage. So how do I feel about THR’s news that Universal is looking to produce yet another version of Scarface, this one set in modern times? I guess I’m pretty indifferent about it. The story of a tragic figure experiencing a rise and fall in the crime world is one that has been told a thousand times already, and it will be told a thousand times again, so what’s the big deal if they want to sell another one by calling it Scarface?

Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as MrSmith1939 and 2BorNot2B in order to discuss some topical topic of interest. This week, the two daydream the ultimate reboot – an entire era of filmmaking brought back to life through the lens of modern directors. What styles should we bring back and homage? It is a good idea to let nostalgia drive us artistically? Will people in 30 years be harkening back to the Abramsian style?

There will inevitably be a movie about the mission to kill Osama bin Laden – this much is certain. Recent news has established that Kathryn Bigelow might be the first to try to put into play one of several projects related to last week’s assassination amongst several that are being shopped around. The reasoning is clear, as the material lends itself inherently to cinematic expression. The mission itself, in short, feels like a movie. Whether or not this movie (or movies) will have anything to say beyond what we already know and think and feel is unknown and, in Cole Abaius’s terms, it will be difficult for such projects to escape an inherent potential to come across as a shameless “cash-in.” My personal prediction is that the first movie that arises from bin Laden’s death will, at best, be an exciting procedural that visualizes an incident we are currently so invested in and preoccupied with. But I doubt that anything released so soon will remotely approach a full understanding of bin Laden’s death as catharsis for American citizens, as a harbinger for change in the West’s relationship to the Middle East and the Muslim world, as a precedent for the possible fall of al Qaeda, etc. In short, we won’t be able to express cinematically (or in any other medium, for that matter) what the death of bin Laden means until the benefits of time and hindsight actually provide that meaning. This is why I think any movies about Osama

In keeping with our exploration into 007 this week, Jorge Sosa digs into the dark dirt of The Big Sleep a noir that might have inspired some of the Bond myth.