We continue our journey through a month of frightening, bloody and violent films. For more, check out our 31 Days of Horror homepage. Synopsis: Jack Finney’s novel “The Body Snatchers” gets its second film adaptation by Philip Kaufman in 1978. This time, the setting is changed from a small California town to the teeming metropolis of San Francisco. Donald Sutherland plays Matthew Bennell, a health inspector who stumbles across reports of people claiming their loved ones are not themselves. His colleague Elizabeth Driscoll (Brooke Adams) faces similar stories and even suspects her live-in boyfriend Geoffrey has been infected. After conferring with Matthew’s pop psychology guru friend David Kibner (Leonard Nimoy), they settle on mass hysteria as a cause. However, when Matthew’s other friends (Jeff Goldblum and Veronica Cartwright) discover a mysterious body in the back of their spa, the group soon discovers an insidious alien force has come to earth with the ability to duplicate people.

Almost two decades after the first film was released in theaters, Jurassic Park is getting a new Blu-ray release, packaged with its two sequels. The original film helped revolutionize the use of CGI effects (for better or for worse), and it still holds up today. Forget about that awful wig on Laura Dern’s stunt double or the shifting geography of the park, these films are still fun to watch. Tap into the dinosaur-loving kid in all of us, and tap into a fresh case of beer. Or choose some wine that’s been fermenting for the last 65 million years. All three films will take the entire day to watch, and by the end, you should be seeing dinosaurs if you play the game right.

Editor’s Note: With Ashe taking a much needed vacation, we turn to the insightful talent of writer Maxwell Yezpitelok for this week’s list. Go read more of his work. But read this first. And then go check that stuff out. Woody Allen has to have one of the greatest casting directors in show business, if we overlook the fact that for some reason they keep casting short middle-aged Jewish guys opposite women like Julia Roberts, Scarlett Johansson and Charlize Theron. But seriously, look at all the big name stars that keep showing up in his movies, sometimes for the whole movie and sometimes for just a few seconds. In honor of that genius scene in Midnight in Paris where Adrien Brody completely kills it as Dali (only to never again), here are the greatest actor cameos in Allen’s forty-something films:

Twenty-five years after its initial release, David Cronenberg’s The Fly is thought to be a modern classic, a highly effective mixture of science, romance, and terror that pulled in a much greater audience than the horror fans looking for a cheap thrill. Cronenberg has always been a director poised on horror as a higher art, a filmmaker who understands the grotesque and how much it is apparent in real life. Some, myself included, call The Fly his master work, and Cronenberg, a very intelligent speaker about all things, not just his own work, has much to offer the viewers of his film and the listeners of the commentary he provides that film. So here, without any further ado or buzz or flitting around your head or what have you, the things we learned from David Cronenberg’s commentary on The Fly.

Welcome back to Junkfood Cinema; we will not go quietly into the night. You are about to read one of the worst internet columns in the history of mankind. No longer consumed by our petty need for legitimately good films, we here at Junkfood Cinema are united by our common interest in the utterly schlocky. First we will examine how the chosen film has earned its freedom from the tyranny of nuance and the oppression of critical measures of quality. We will then triumphantly raise our voices to proclaim what it is about the film that allows it to survive total annihilation and win not only the day, but our hearts as well. Finally, we will pair the film with an appropriately themed snack food item in order to prove that our waistlines will not vanish without a fight. Today we celebrate Roland Emmerich’s Independence Day!

After building a theme park populated by dinosaurs, eccentric old billionaire John Hammond invites two top dino-scientists, a rock star chaos theory expert, and his grandchildren to come check it out. Fortunately for everyone involved, a horrible security breach unleashes the dinosaurs, and their lives are all terribly threatened.

Tim Heidecker and Eric Wareheim are a couple of goofy weirdos known best for their insane Adult Swim show Tim and Eric Awesome Show, Great Job!. Also, they’ve done quite a few memorable bits for Funny or Die. Their humor is absurdist, their show is short, low budget, and very hand crafted; and they’re one of those things that either you find funny or you just don’t. Personally, I enjoy a lot of what they do, and a lot of other people must too, because somebody has given them a bunch of money to make a feature. Check out the cast: Zach Galifianakis, Will Ferrell, John C. Reilly, Robert Loggia, Jeff Goldblum, Will Forte, and William Atherton. Yes, that’s right, THE Robert Loggia; the guy from the orange juice commercial. Either this cast is making you roll your eyes in disgust right now, or it’s making you jump for joy. If you’re sick of watching these guys goof around you should probably stop reading. Just move on to something else. But if you’re like me and you love most of these stupid jerks, continue on to read some quotes from Eric.

Every day, come rain or shine or internet tubes breaking, Film School Rejects showcases a trailer from the past. What’s this trailer working on? A machine that will transport Jeff Goldblum from one side of the room to another. In a word? Teleportation. But the machine demands inner pure. He was not pure. Now, his medicine cabinet has become the Brundle Museum of Natural History. Wanna see what else is inside it? Think you know what it is? Check out the trailer after the jump.

This week, Fat Guy Kevin Carr is like a runaway train filled with toxic chemicals. He could derail and explode at any moment. And it’s a good thing Tony Scott isn’t making a movie of his life because there aren’t enough whip pans and helicopter shots to capture his awesomeness. While he raps Scott’s knuckles with a railroad tie, he also gets giddy over the beautiful Rachel McAdams and gives some props to the Brothers Strause for the effects in Skyline. And then he explodes, and all the toxic chemicals threaten to wipe out a small town in Pennsylvania.

The inner workings of the media have not been depicted onscreen with the incisiveness of Morning Glory in years. Twenty-three of them to be exact, since James L. Brooks released his seminal Broadcast News, the ensemble comedy that convincingly revealed the behind-the-scenes machinations and romantic triangles at an evening news program. Roger Michell’s film is the 2010 morning show set answer to Brooks’ work. Above all, it trades in two fundamental truths: the media has gotten dumber and even more filled with personalities slavishly devoted to a fast-paced, go-getter, plugged-in workaholic lifestyle. Fundamentally ensconced in the longstanding tradition of screwball boardroom comedies, Morning Glory is nonetheless attuned to the way we get our information and to the pressures of a society placing an increasingly sharp emphasis on networking and fraternization — superficiality over substance.

For 36 days straight, we’ll be exploring the famous 36 Dramatic Situations by presenting a film that exemplifies each one. From family killing family to prisoners in need of asylum, we brush off the 19th century list in order to remember that it’s still incredibly relevant today.

Whether you’re seeking a degree in Literature, love movies, or just love seeing things explode, our feature should have something for everyone. If it doesn’t, please don’t make us watch as your body parts fall off.

Part 27 of the 36-part series takes a look at “Fatal Imprudence” with The Fly.

Romantic comedy makers, here’s some advice: When you’re pinpointing a male lead to star opposite a genre stalwart such as Jennifer Aniston, skew more toward the Jason Batemans of the world than the Matthew McConaugheys. The Arrested Development veteran’s appearance in The Switch, a top-notch valentine to New York City and parenthood being released during the summer doldrums, epitomizes the wisdom of this approach. As neurotic, repressed financial analyst Wally Mars, Bateman turns the standard leading male archetype on its head. Out of a morass of clichés, from the When Harry Met Sally components of the narrative to the big climactic reveal, he makes stability sexy, offering an appealing regular-guy counterpart in the cold war with Patrick Wilson’s dreamboat Roland for the heart of Kassie (Aniston). Beneath the bundle of obsessions and fears is a smart, lonely man fighting for self-respect and the right to feel happy.

It may have something to do with the fact that I’ve recently watched both Knocked Up and a marathon of How I Met Your Mother, but everything feels like it revolves around struggling broadcast journalists and/or producers these days. Local television morning show producer is the new executive assistant.

The Switch is the newly renamed comedy starring Jennifer Aniston and Jason Bateman about artificial insemination, mistaken identity, and the perils of sticking kitchen utensils up your bajango. It was originally called The Baster… a title that’s simultaneously better and worse then the new one.

Instead of plugging in other disaster movies into the formula, Roland Emmerich is finally being blunt about his desperate need to make more ID4.

Josh Radde gets thrown for a loop by some wayward inter-office correspondence, then quickly realizes that Michael Keaton and Diane Keaton are not the same person. The point is, one of the two are starring in a new movie with Jeff Goldblum and Harrison Ford.

The end result: the only time Jeff Goldblum ever made me laugh.