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I was convinced this day would never come... I first wrote about The Loss of a Teardrop Diamond over three years ago when the forgotten Tennessee Williams screenplay got tapped for a feature film. Lindsay Lohan was set to star in it, before her heaps of turmoil turned her career sour. In 2007, Bryce Dallas Howard stepped in to replace Lohan, and in 2008, we finally got a still from the film. Now the movie has quietly swam through the festival circuit and is slated for release at the end of the year, which means we finally get a trailer, which you can see after the jump, courtesy of Coming Soon.

The trailer can certainly send you back in time, but maybe not to the right time. The whole thing reeks of 1980s Hallmark melodrama, from the scenes to the text and somber voiceover. Bryce Dallas Howard stars as Fisher Willow, a '20s debutante who decides to get back at her greedy dad by taking a poor young man (Chris Evans) to a high-profile party. She borrows her great Aunt Cornelia's (Ann Margret) teardrop diamond earrings to the event, and when she loses one, she accuses her date of stealing it.

What might be more intriguing than the work (which Coming Soon says was written as a film for Elia Kazan to direct), and the cast (which also includes Ellen Burstyn), is the idea of Lohan in this movie. I can't begin to imagine her taking on the style and accent Howard pulls off. But what do you think?

Will you hit the theaters to see this lost work from Tennessee Williams?

By: Eugene Novikov, reprinted from the Telluride Film Festival '09

Just before the kid was born, the world burned. We don't know why, and the characters don't talk about it -- perhaps they don't quite know themselves, or maybe they've decided that it no longer matters. The Boy's universe is grey, full of ash, dust, and the ruins of a civilization he never saw. This is all he knows. His mother, seeing no point in going on, killed herself shortly after his birth. She was not alone. Many of those who didn't take their own lives were soon murdered by the desperate and hungry.

Skip ahead nine or ten years. The kid and his father wander the barren roadways heading south toward the coast for no clear reason other than that it gives them a tangible goal toward which to strive. (And there's always the hope that the ocean will be something other than gray.) Every day is a knock-down, drag-out fight for survival. They run, hide, starve, and fight off attackers who want their food, or their clothes, or, at one point, their flesh.

I set the stage like this not to horrify you or to gross you out, but to give you a sense of the relentless, pervasive grimness of The Road -- and then to turn around and say that The Road may be the most profoundly optimistic and life-affirming film you will see this year. Those who have read Cormac McCarthy's novel of the same name won't be surprised by this. John Hillcoat's faithful, near-perfect adaptation beautifully captures McCarthy's synthesis of all-encompassing darkness and enduring hope.

In 1982, Ben Kingsley became Mahatma Gandhi in Richard Attenborough's Gandhi. The film instantly became a classic and went on to dominate the Oscars, earning Best Picture, Director, Actor, Writing, Editing, Costume Design, Cinematography, and Art Direction. And even though those are ridiculously enormous shoes to fill, the Guardian reports that Kingsley is heading back to Indian history to play Shah Jahan, the emperor who built the Taj Mahal.

Back in the mid-1600s, Shah Jahan was a Mughal Emperor who was devastated when his favorite (third) wife Mumtaz Mahal died while giving birth to their fourteenth child. In her honor, he decided to erect a grand mausoleum that would not only be epically impressive and beautiful, but also so glorious that sins would be washed away. It took roughly 21 years to create and has been included on some Seven Wonders of the World lists.

Titled Taj, the script was written by British novelist and playwright David Ashton, and is still looking for a director. Alongside Kingsley will be Aishwarya Rai Bachchan, who will play Mumtaz Mahal. This won't, however, be her first stab at the object of such desire: The former Miss World and Bride & Prejudice star played Mumtaz in the 2007 short musical, Journey Across India.

SBK Pictures is hoping to start production in the fall of 2010, but for now: Do you think Kingsley can make Indian history win in Hollywood once again?

The first reviews for Peter Jackson's The Lovely Bones are beginning to pour in, and, naturally (for a popular, fan-friendly director like Jackson), there are the raves (Harry Knowles from AICN) and the pans (Todd McCarthy from Variety). Just posted this evening over at Variety, McCarthy's review is perhaps the hardest one to swallow. Essentially his biggest problem with the movie were the effects, claiming Jackson uses them way too much (and too often) for a film (and story) that doesn't really require them. He calls it "show-offy" and says the film "rates as a significant artistic disappointment." It's an unfortunate review for a film that was a shoe-in (and still may be, especially for Stanley Tucci) for multiple Oscar nods on almost everyone's list.

Some other quotes (no spoilers):

-- "This is an incredibly lovely film. From the visuals to the performances to the story-telling and film work... it all goes to capture a very powerful story in a way that makes you want to hug those close to you." -- Harry Knowles, AICN

-- "It's not that The Lovely Bones is a bad movie, exactly. It is handsomely made and strongly acted, while its woozy, lullaby ambience recalls Jackson's work on the brilliant Heavenly Creatures, before he set forth on his epic voyage through The Lord of the Rings." -- Xan Brooks, Guardian

-- "Peter Jackson's eagerly awaited film version of Alice Sebold's bestselling novel is sometimes exquisitely realised, sometimes frustratingly uneven. ... While The Lovely Bones is as dark as it gets thematically, it will still be an event movie for the adult audience." -- Mike Goodridge, Screen Daily

-- This was never going to be an easy story to film. Using the same characters and many events, Jackson and his team tell a fundamentally different story. It's one that is not without its tension, humor and compelling details. But it's also a simpler, more button-pushing tale that misses the joy and heartbreak of the original." -- Kirk Honeycutt, The Hollywood Reporter

The Lovely Bones hits theaters on December 11th.

A mere month ago, it seemed like Michael Connelly's The Lincoln Lawyer was set for a top notch adaptation thanks to the arrival of Tommy Lee Jones. Jones was interested in directing and costarring in the film, which gave us all hope that he could help makeover Matthew McConaughey into something serious and shirt wearing. But alas, it's not to be. Variety reports that Jones has departed The Lincoln Lawyer, leaving it idling and spitting fumes.

Jones departed for that vague and all-encompassing reason "creative differences." Variety reports that he had issues with John Romano's script, and neither Jones nor Lakeshore Entertainment were willing to budge. The studio is currently on the hunt for a new director, and hopes to be shooting by spring.

So, feel free to speculate on just what script issues there might have been. I know we have some Connelly fans who were looking forward to this, and who know more about the book than I do. Given that it is a star vehicle for McConaughey, and the character is a bit of a legal freewheeler, I wonder if the script is more of a comedic departure from the book. We've cracked a lot of jokes about bongo drums and shirtlessness, but could that actually have been what Jones departed over? It's sleazy and easy to jump to that conclusion, and I can't really believe a Connelly book could be adapted into Fool's Gold. But this is Hollywood. Stranger things have happened.

What major movie production features an interracial friendship that defies all the expected stereotypes? Hint: it's not the one starring Sandra Bullock.

On its own merits, The Blind Side is a heartwarming story of the modern South, in which a rich white 40-something woman (Bullock) befriends a poor black teenager (Quenton Aaron). Their relationship develops to the point that the young man feels a part of her family. I agree with our reviewer, Jette Kernion, who described it as "a very good example of a sports-related family film, with quality performances and writing." She also notes the "seeming visual message that the African-American community can't or won't care for their own, and that the saviors here are rich white conservatives." The film is based on a non-fiction account, but it still makes me wonder why, exactly, we needed another film depicting that particular racial dynamic -- beyond providing a great starring role for Bullock and the aforementioned heartwarming elements.

As finely-edged as a new razor blade, Ninja Assassin establishes itself as a contender for "CGI Fu Movie of the Decade" in its very first sequence, gleefully slicing off body parts with the abandon of an extreme gore flick that would satisfy most horror hounds. It rocks back and forth between ponderous philosophical pontifications and riotously preposterous action scenes like a ticking time bomb, exploding in geysers of blood at regular intervals. Our reviewer William Goss was much less taken with the film than I am -- I think it's fair to say he hated it -- so bear in mind that your mileage may vary wildly. However, I feel confident in saying that Ninja Assassin presents a rarely seen relationship: a friendship between two people that makes no mention of their racial differences.

Oh, The Crow! I loved you so! I had the poster, the comic book by James O'Barr, the T-shirt, and the unrequited crush on Brandon Lee, whose tragic death only fanned the flames of my teenage desire. I even went to see the sequel, The Crow: City of Angels, which featured the spectacularly bad line, "F*ck you, bird d*ck!" uttered by none other than Iggy Pop. (I did, however, forget to light a candle for its 15th anniversary earlier this fall. Sniff.)

As previously reported, there is a relaunch being written by Stephen Norrington, who will also direct, that might not even include Eric Draven, the main character (sacre bleu!). The last time that Norrington took a crack at directing a beloved comic book was the 2003 stinker The League of Extraordinary Gentlemen, but as io9.com reported, so far the script is getting good reviews. Meredith Woerner at io9.com coaxed some details from producer Ryan Kavanaugh (Nine, Brothers, Zombieland), and while he wouldn't reveal which actor is going to be smearing himself with makeup to wreak vengeance on those who violated and murdered his beloved, he did say it will be "a whole relaunch of the franchise, much more of a dark superhero type" and starring an already-established actor.

The best thing about this trailer is that Mumblecore sensation Greta Gerwig has finally semi-crossed over into more "popular" fare (I can't say commercial, because this is still somewhat indie, so I guess "popular" is the right word ... but maybe not. You get the point, though, right?). The worst thing about this trailer is that it just feels like another lost-dude-looking-for-the-rest-of-his-life type flick, and I guess that's cool if you dig hip indie soundtracks and Ben Stiller with a perpetual puss on his face, but in my opinion there's nothing here that screams, "Holy crap, watch me right now!"

Yeah, so, anyway, the first trailer for Noah Baumbach's (The Squid and the Whale) next film, Greenberg, has just arrived over on Apple, and it stars Ben Stiller as a guy named Greenberg who's "at a crossroads in his life" and, after he agrees to housesit for his younger (and more successful) brother in Los Angeles, he begins to reconnect with old friends and kinda-sorta-maybe sleep with Greta Gerwig, who, mind you, totally has an Indie Kate Winslet vibe going on in the trailer.

Watch the trailer over on Apple and let us know what you think. Greenberg is due in theaters on March 12th, and I could totally see it premiering at Sundance in January ... but I'll guess we'll wait and see about that.

"Team Jacob!" roars a trio of dudes in a bar. Drinks are flowing fast. "A typical horrible Monday just became amazing," gushes a woman who's about to go see a private screening of Twilight: New Moon. The crowd moves from the bar to what looks suspiciously like a high school theater to get amped up for some muscle-bound shirtless werewolf action.

"C'mon, get out of your seats! Are you ready?" The fans, who are all most certainly of drinking age, are definitely out of their seats and screaming. They're so ready!

"Too bad!" cackles the emcee, and the curtains part to show a young comedian named Skyler Stone who's there to stage an intervention, via FunnyorDie.

"Ladies and gentlemen, you are not going to see Twilight: New Moon tonight." For some reason (I think it has to do with alcohol), the audience is still cheering, but this statement brings a solitary "NO!" Stone continues, "This is a vampire intervention because you clearly don't know what the f*ck a vampire is!" Is that male laughter in the background? Wooing begins. Is this real or is it fake? Stone berates the audience and insults Rpatz with aplomb. Still, the cheering continues!

"Why are you cheering?!" he yells at them. "Do you understand you're not seeing Twilight tonight?"

Will there be a riot? Bloodshed? Will Stone leave the theater intact? Find out what happens after the jump.

Cinematical has just received the following title track for Nick Cave and Warren Ellis' original and haunting film score for The Road. It's simple and chilling -- just as any accompaniment to a post-apocalyptic world should be -- full of violin and piano tunes, some wind instruments and sound loops. The soundtrack is being released digitally today over at Amazon, with further digital retailers tomorrow and a CD release to follow on January 12, 2010.

We first alerted you to the score back in March, and then to the duo's Soundtrack Collection in September. As you might have gathered, some of us are big Cave & Ellis fans. And rightly so. They provided an award-winning score for John Hillcoat's earlier feature The Proposition (which Cave also wrote), and also scored The Assassination of Jesse James by the Coward Robert Ford. And of course, that's besides their work in Nick Cave and the Bad Seeds, which has memorable cinematic ties to Wings of Desire (before Ellis teamed up with Cave).

Too often these days it's easy to get pulled out of movies due to overly imposing and grandoise film scores desperately trying to yank at emotions, rather than just lightly coaxing the right feel for a particular scene, and Cave and Ellis definitely know how to let simplicity reign. Check out the clip and track list after the jump and grab it over here at Amazon.