Pirates have made a big comeback in recent years thanks to the lawless activities happening off the coast of Somalia, but while we hear of multiple hijackings and kidnappings from the region they rarely involve American citizens. One of the exceptions though occurred in 2009 when the American cargo ship MV Maersk Alabama was attacked and boarded by pirates. Paul Greengrass is bringing the story to the big screen as his first film since 2010′s Green Zone, and the first trailer promises a thrilling real-life drama happily free of politics. Having Tom Hanks in your title role never hurts either. Check out the first trailer for Captain Phillips below.

Once upon a time, Michael Gates Gill’s memoir, “How Starbucks Saved My Life,” was optioned by Universal to become a film that would be directed by Gus Van Sant and would star Tom Hanks. Chances are, that would have been awesome. It didn’t end up happening though, so get it out of your head now. It’s done. That’s the bad news. The good news is that Deadline has gotten word that The Weinstein Company has just swooped in and gobbled up the rights to the book, which will likely give it a second shot at becoming a film. For those of you not familiar with Gill’s story, you’re probably wondering how exactly Starbucks (yes, we’re talking about the coffee chain here) could have saved someone’s life. It certainly wasn’t through the quality of their over-roasted beans—am I right, hipsters? Ahem. Anyway, “How Starbucks Saved My Life” makes more sense if you hear its full title, “How Starbucks Saved My Life: A Son of Privilege Learns to Live Like Everyone Else.” It’s Gill’s account of how falling on hard times and actually having to get a job and work for a living gave him a new perspective and generally saved him from a life of behaving like an entitled goon. Suddenly he has to answer to someone who is younger than him, has darker skin, and is equipped with lady parts, he has to actually do manual labor in order to receive a paycheck, and once he gets said check he

If you can find a review of Cloud Atlas that doesn’t use the word “ambition,” I will give you a quarter. Everyone is talking about the sheer grandiosity of the project, an adaptation of a book that has been called “unfilmable.” More than simply the most obvious talking point, the movie’s vast scope is also a major point of division between critics. Those that love it seem to praise its ambition most of all, while its detractors claim that the Wachowski Starship and Tom Tykwer bit off far more than they could chew. I would argue for the latter, that while there are many excellent individual moments spread across Cloud Atlas’s six stories, the larger endeavor often gets bogged down in its own scope. However, that might mean nothing at all for its Oscar chances. Cloud Atlas is a great example of a group we might call “lesser epics.” These films tell broad, temporally extensive narratives that take up many years, distant locales, and well over two hours of screen time. They are often period pieces with meticulous detailing, gorgeous landscapes, and the occasional stunning special effects. Yet for whatever reason they don’t come quite come together in the end and they rarely make much money. At the end of the day, however, their ambition is often deemed enough on its own to garner a smattering of Oscar nominations. Cloud Atlas is nothing if not ambitious, but is that enough to impress the Academy?

What is Casting Couch? It’s where Hollywood moms come every day to find out if their actor kids have gotten a job. Remember that movie about the day JFK got shot that Tom Hanks was putting together because these days he’s such a history loving, lame dad? It’s called Parkland, and it just put together an awesome cast. According to Collider, director Vincent Bugliosi has signed the terrific trio of Paul Giamatti, Jackie Weaver, and Billy Boy Thornton to headline the cast. There’s no word on what characters they’ll be playing, but my guess is Giamatti will be JFK, Thornton will be Jackie O, and Weaver will be Lee Harvey Oswald. Makes sense, no?

Editor’s note: Cloud Atlas finally arrives in theaters today, so please dive deep into it with this review, first published as part of our Fantastic Fest coverage on October 3, 2012. It starts with an old, scarred, and obviously hard-lived man sitting near a campfire speaking to the audience, and it ends with the same scarred old man concluding his story at that same campfire talking to a group of children about past adventures. As the credits start to roll, it evokes a nostalgia that you may have just sat through the kind of immersive and imaginative tale that you wish you could recall all the details to tell it to your children exactly as it was told to you. All that was missing was a stick and a bag of marshmallows. In between these comforting bookends is a story that transcends time, tonal cohesiveness, or convention of almost any kind. Cloud Atlas an elaborate, beautiful, and ever-growing spiderweb of human causality and inter-connectivity that’s woven together by themes that support an idea that we are never unbound from one another or a purpose. Your life is not necessarily your own as you are tied to others in your time, others who came before you, and those who will come long after. What you do is what will define you and will determine the living conditions of those who follow. What you do may seem insignificant, or irrelevant to the plan at large, but most everything matters – and if

The most interesting thing about this excellent behind-the-scenes look is that it’s focal point is David Mitchell, the author of the novel that The Wachowskis and Tom Tykwer fell in love with so deeply that they had to make an insanely risky movie version. He becomes the entry point into a process that, typically, can seem alien to novelists. His glee at watching his story burst off the page is contagious here. Cloud Atlas is in theaters today, and the consensus seems to be that whether you feel the full force of its impact or end up hating it, the film itself is to be celebrated for trying some large and new. Adam certainly loved it, and now TIME has made “Bringing Cloud Atlas to Life: The Actors, The Filmmakers and David Mitchell Discuss the Film,” a fantastic companion to the movie which takes us from green screens to sandy beaches and beyond while Mitchell and the directors unpack the process (which apparently was a lot like playing with LEGOs). At the very least, you won’t be able to get Tom Hanks saying, “This is a violation!” out of your head all day.

This September wasn’t a bad way to get out of a summer slump. If any of you were disappointed by this past summer’s films, last month should have picked up your spirits. You were either in awe or disappointment over Paul Thomas Anderon‘s The Master, but whatever camp you fall into, at least you more than likely had thoughts about it. Rian Johnson‘s Looper completely lived up to the hype, wonky time travel logic and all. And we got Dredd 3D and End of Watch, two B-movies which exceeded expectations. Not a bad way to start a new season. There are plenty of offerings for every taste this October including one with a bug-eyed, jacked up, and horrifying Matthew Fox who apparently will be taken down by Tyler Perry. Keep reading for a glimpse at seven other movies you should run and skip to the theaters for.

Film, like any art at its core, can be like philosophy in its pursuit of things not easily quantified. With Cloud Atlas it’s easy to say that Andy Wachowski, Lana Wachowski and Tom Tykwer came together to make a film which spans time periods and geographical locations (some as far away as the edge of the galaxy) to show that as tiny as each of our lives are, they are still interconnected threads that shape things to come. Cloud Atlas is the definition of epic. In the beginning, we see Timothy Cavendish (Jim Broadbent) at a typewriter, narrating his work saying, “I know that you’re tired of flashbacks and flash forwards. However,…” in a playfully pleasant way of apologizing for its misgivings. Then, the sprawling, era and personality-jumping film opens up to grow into something massive and wonderful. Don’t worry about the flashbacks, Mr. Cavendish.

According to Deadline Hollywood, Tom Hanks and Michel Hazanavicius plan to meet soon to compare their Oscars, for Hanks to endearingly joke about having more than one, and to discuss possibly collaborating on In the Garden of Beasts. Adapted from the Erik Larson book of the same name, the project would focus on the real-world story of William Dodd – America’s ambassador to Hitler-controlled Germany – who was present in the lead up to WWII. There’s also a possibility of Natalie Portman getting involved, playing Dodd’s daughter who revels in Berlin life. More than anything, it sounds like a frustration play. Dodd sent back Cassandra-like memos to the state department about growing violence aimed at Jewish citizens which went largely ignored. Just think of it. You’re a welcomed diplomat living in the heart of darkness, witnessing the growing madness of Hitler’s Holocaust, but no one back home wants to listen to your theories. It’s infuriating subject matter that could make for a thrilling drama, especially with the gold-plated talent involved. Currently, it’s set up at Universal, but it needs a writer (and a script for that matter), so it could still be far off on the horizon. Fortunately, Hazanavicius is re-teaming with Berenice Bejo for a Chechnya-set drama about an NGO worker helping a lost little boy find his family as a follow-up to The Artist and The Players. Hanks, on the other hand, is busy taking awesome pictures with fans and playing Walt Disney, so there’s plenty of both filmmakers to keep

All evening I was prepared for the snarkily apathetic responses to a certain film holding its world premiere at the Toronto International Film Festival Saturday night. Sadly, there was no Tweet expressing, “Cloud Atlas … shrug.” But there were indeed some claims of “meh” and “okay,” though perhaps not as many as there were declaring the ambitious effort either a monumental masterpiece or an epic failure. The film, which is based on the David Mitchell novel and adapted and directed by Andy and Lana Wachowski and Tom Tykwer, seems to be this year’s Inception or Tree of Life, as it parts the waves of criticism more distinctly than even the current American political divide. And, hey, Cloud Atlas actually sounds rather relevant to the presidential election with its apparent themes of history repeating itself and debate over change. The funny thing about a movie like Cloud Atlas is that the negative reviews seem to be more marketable than the positive. Those who say it’s a narrative mess still tell us to see the film for ourselves, if only because it’s still a marvel of cinema. And critics with the highest praise cut their own exaltations down by stating that a lot of moviegoers are going to hate it, whether because they won’t have the patience or they just won’t get it.

Though he’s best known as an actor, Tom Hanks is a man who contains multitudes, and also has many other hobbies. When he’s not thinking about the moon or studying the great wars, sometimes he produces movies. Heck, he’s even got his own company, Playtone, that’s set up to help him do just that. A since we know what a sucker the man is for 60s history, it should come as no surprise that Variety is reporting Hanks and his Playtone partner, Gary Goetzman, are putting together a new movie that chronicles the day that John F. Kennedy was assassinated. From writer/director Peter Landesman, Parkland is set to be an ensemble film that studies the events of the day of Kennedy’s tragic death from multiple angles. Included in its cast of characters is said to be Kennedy’s wife, an FBI agent, a young doctor, a reporter, multiple members of the Secret Service and Kennedy’s staff, Lee Harvey Oswald’s older brother, and an infamous clothing manufacturer with a camera named Abraham Zapruder. Sounds like we’re going to be reporting on the casting of this thing for months.

The novels of David Mitchell are densely layered affairs concerned with a complicated multitude of characters facing big and complex issues. Or so I hear. His novel Cloud Atlas is a favorite of many, but even those who would love to see a film version have been adamant that such an endeavor would be a foolish and fruitless undertaking. That opinion didn’t change when Tom Tykwer and Andy & Lana Wachowski announced they had written a screenplay and were looking for funding and distribution. It wavered slightly when the casting announcements started rolling in, but it otherwise stayed steadfast. But now the first official trailer has dropped, and while the possibility of a disaster remains it looks like these three writer/directors have accomplished something amazing. Will it live up to the novel? Who knows, but there’s no doubting anymore that they’ve accomplished something audacious and wonderful here. Check out the extended trailer below (courtesy of Cinema Blend).

Even when it just had a director and two principal actors in place, Disney’s upcoming Saving Mr. Banks already seemed like it was the perfect storm of mainstream appeal. Take director John Lee Hancock, who made mountains of money and received boatloads of acclaim for his sugary sweet The Blind Side, give him two of the most universally loved actors working in Tom Hanks and Emma Thompson, and put them to work on subject matter involving one of the biggest legends in entertainment history, Walt Disney, and one of the most enduring children’s stories of all time, “Mary Poppins,” and you have to imagine this film’s potential for box office dollars and warmed hearts is unprecedented. It turns out Saving Mr. Banks isn’t just content to get our attention and then sit back and coast on a winning formula though. Variety has a new report that a trio of actors have just signed on to the film in supporting roles, and they’re three of the best supporting players studio dollars can buy. Joining Tom Hanks as Walt Disney and Emma Thompson as “Mary Poppins” author P.L. Travers will be Paul Giamatti, Jason Schwartzman, and Ruth Wilson.

There have been times in my life when I’ve been invited to things. I usually end up having to work or sleep or do something far less interesting, but I’ve been known, from time to time, to make my presence known at a holiday gathering or two. One particular holiday of which I’ve long been a fan is the fourth of July. From fireworks on the National Mall to suburban block parties to back yard BBQs that end with various limbs in danger (thanks to the backyard BBQ’s constant cohort, the backyard fireworks display), I’ve never been one to shy from a few cold ones and grilled meat in celebration of this wonderful nation. It’s for the troops, for the American dream and for future generations that I imbibe. And because it’s a good time, of course. Another great Fourth of July tradition is that of getting out of the heat, before the fireworks start, and seeing a movie in a nice air conditioned theater, be it the multiplex or the couchiplex. Nothing says America like some good old fashioned Hollywood commerce. Which brings us to this week’s Pop Quiz question: what is your go-to Fourth of July movie? 

For more than fifteen years, Pixar has represented the gold standard in computer generated films. Since the studio’s early days of making groundbreaking short films to producing Oscar-winning feature-length movies, Pixar has become a brand associated with quality animation and adorable characters. There have been some bumps along the road, from a love-hate-owner relationship with Disney to some questionable sequels, but few studios can boast such a consistent level of quality and innovation. This week, Pixar will be releasing its 13th full-length feature, Brave, with an entire new cast of characters different from any other Pixar film. This gives us a chance to look into Pixar’s past and remember some of the favorite characters from their films.

Though Steven Soderbergh has had a lengthy career full of acclaimed projects, he’s perhaps best known for his remake of Ocean’s 11, a successful compiling of some of the biggest names in Hollywood for a good, old-fashioned heist movie that was so successful it spawned two sequels. Despite the fact that he was better known for artier fare when Ocean’s Eleven was released, audiences responded well to this fairly simple robbery tale, and the slight modern spin that Soderbergh put on the film’s largely vintage aesthetic got pretty universal praise. If there are any filmmakers working today who have a heftier resume of acclaimed works than Steven Soderbergh, then they’re definitely named Joel and Ethan Coen. The Coen brothers have been making artsy, weird movies ever since the mid-80s, and though it’s taken them a while to achieve any real financial success, they’ve always enjoyed an ever-increasing amount of critical acclaim. That is, until they ventured into the romantic comedy and heist genres in 2003 and 2004 with Intolerable Cruelty and The Ladykillers. These two films are widely regarded as the Coens’ worst work, and their only movies worst skipping. This feeling is erroneous, however, because The Ladykillers in particular is very Coens and very fun, and the world was wrong for vilifying them for making a simple heist movie with a throwback feel. I mean, nobody minded when Soderbergh did it.

Saving Mr. Banks is a Kelly Marcel-penned Black List script that details the 14 years it took Walt Disney to convince author P.L. Travers to give him the movie rights to her Mary Poppins character. The result of the lengthy courtship was, of course, the Julie Andrews-starring 1964 Disney film Mary Poppins. That movie has made Disney a whole lot of money over the years, so it makes sense that they would be looking to produce any sort of acclaimed script that manages to cash in on Poppins’ mainstream name recognition; especially one that features their company’s founder, Walt Disney, as the main character. To that end, Disney has acquired Marvel’s script and hired The Blind Side helmer John Lee Hancock to direct. That’s all old news though. The new news about this project is that casting has started, and they’re looking at some pretty huge names to play Disney and Travers. According to Variety, Hancock and company are talking to none other than Tom Hanks and Emma Thompson to fill the roles. Just let that sink in for a moment — Tom Hanks may play Walt Disney in a movie about the making of Mary Poppins. Have you ever heard of anything that will make a more violent grab for the hearts and wallets of everyone’s parents and grandparents than that?

As we approach Valentine’s Day (yes, it’s just a few days away) I think it’s only fitting that the topic of romance come into play in anticipation of the day meant to celebrate all things feelings. I’m not sure about you, but I have actually never celebrated Valentine’s Day with a loved one not related to me. Instead I spend the day (or week) loading up on conversational hearts, Reese Peanut Butter cups, and a collection of melodramas so depressing I become skeptical that love can actually end in anything but death. Regardless of my tendency to eat my feelings while crying over the tragic love found in Douglas Sirk films, I do enjoy happy love stories and tend to pair the sadder movies with some of my must-have romances. In honor of the big V-Day, I’d like to share my favorite 14 romantic scenes and also open it up the floor to hear your suggestions as well. Here are my concluding seven romantic scenes to last week’s first half of this list. Bring out the smelling salts; you might need them after all these swoons.

When thinking about which films I consider to be overrated, I keep coming back to two different categories. First there are the art films that get embraced by the movie geek community and praised to high heaven for their crafting, whether they really makes for an exceptional overall movie-going experience or not. And then there are the movies that get overrated by the mainstream. They’re mostly sentimental movies that tug on the heartstrings, with characters that hit low lows, but then achieve some new victory. Robert Zemeckis’ Forrest Gump is definitely the latter. It’s a movie that seems designed solely to make parents and grandparents nod knowingly at historical incidents they remember and then tear up when a sad part rolls around; but they love it for it. Being There was nominated for the Palme d’Or and even won Melvyn Douglas an Oscar for Best Supporting Actor back when it came out, but it’s a movie I never hear mentioned these days. As a matter of fact, other than the little bit of nostalgia that remains for Harold and Maude, I would say that Hal Ashby is a director whose career has been kind of forgotten by my generation of film fans. That’s a shame, because the man did some great work, and this film in particular has one of the last great performances by the legendary Peter Sellers.

This week, Fat Guy Kevin Carr pulls out his screening schedule, which looks like a gambling addict’s racing form. He bounces from huge, mainstream releases to minor indie award contenders. Facing motion-capture CGI, tattooed bisexual investigators, cross-dressing waiters, silent film actors, and a lead star who is literally hung like a horse, Kevin tries to make sense of the seemingly countless releases this holiday week. Exhaustion from this process makes it impossible to buy a zoo or face the 3D end of the world, but his movie stocking is full, nonetheless.