It’s gold baby! That’s right, the next version of Apple’s flagship operating system for Macs has just gone Gold and been seeded to developers.

The next version, known as OS X 10.7 Lion, is now at build number 11A511 and the download is available immediately on Apple’s developer website. Of course, that’s only if you’ve paid your $99.00 to be an Apple OS X developer. If not, no Lion for you — at least not yet.

Due to this being the GM and barring any major glitches with it, we should expect it to be the final version before the update is released in the wild for everyone.

That launch will be sometime next month with the update being available in Apple’s Mac App store. It will cost $29.00, which seems pretty reasonable.

I’m not going to be the only critic to describe this as Sex and the City Lite and certainly not the only one to say Monte Carlo is a vapid, humorless, moronic, laughably imbecilic piece of little-girl-fantasy trash. I may not even be the only person to yell out unsolicited but desperately needed advice such as, “Button your goddamn shirt!” or “Do any of these people know what the word ‘statutory’ means?” But I probably will be the only one to say that anyone who likes this movie is an idiot.

The premise is your standard Prince and the Pauper—or at least half of it—high-school graduate Grace (Disney Laboratories’ Latest Release, perhaps best known for role in The Wizards of Waverly Place), her…uh…stepsister? (I don’t think the relationship is ever made explicit) Meg (Leighton Meester), and best friend Emma (Katie Cassidy) take their dream trip to Paris.

The trip ends up being all kinds of stink until Grace is mistaken for heiress Cordelia (also Gomez). That takes them from the dirty hovel where they’re staying to a plush suite complete with a view of the Eiffel Tower (but then, what movie set in Paris isn’t?).

They decide to go with the rouse, which takes them to Monte Carlo (Monte Carlo) where Grace meets up with her obligatory love interest Theo (French actor Pierre Boulanger), Meg meets up with hers (Home and Away’s Luke Bracey, wearing the unbuttonedingest goddamn shirt in Christendom), and Emma pines for her would-be fiancée Owen (Glee’s Cory Monteith), who, bless him, decides to travel to Europe to find her.

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I have a horrible confession to make. It’s something that eats away at me everyday. I have yet to watch Game of Thrones. Now, this hurts for many reasons, but chief among them is the fact that I am such a fan of Fantasy and Sean Bean, yet here I sit writing a review instead of spending my precious time getting caught up with the show that seems tailor made for me.

Despite that I think I have been strangely fortunate, I have been eager to write a score review sight unseen. Usually I listen to the music, then see movie and let whole experience guide my opinion. For once I am able to judge a work based solely on how it works on the album. So lets see how that works.

Game of Thrones is actually not a film score, but rather the score from HBO’s hit new series based on the books by George R.R. Martin. It was written by up and coming film composer Ramin Djawadi, another in the line of talented composers who were shepherded into the film world by Hans Zimmer.

Unlike Klaus Badelt and Stephen Jablonsky, Djawadi has yet to have a break out hit score. He did write the music for Iron Man, but the sound lacked a tight, cohesive hook that tied the project together. If his work on Game of Thrones is any indication, this will be remedied very soon, Djawadi has crafted a moody, melodic master work that incites amazing imagery in the mind.

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Since her Wonder Woman TV series didn’t get picked up by NBC, it would appear the lovely Adrianne Palicki is available. No, not that kind of avilable. Sorry nerds. As if you’d have a chance anyway.

Instead, she’s available for more work and has reportendly signed on as the female lead in the upcoming G.I. Joe: Cobra Strikes. Palicki will take on the role of Lady Jane in the film, which already features Channing Tatum and Dwayne Johnson, who’s set to play Roadblock.

In other casting news for the sequel, Ray Park is expected back as Snake Eyes and Byung Hun-lee is expected back as Storm Shadow. The RZA has also recently joined the film in an as yet unknown role. The other major role still to be cast is that of Joe Colton, the original G.I. Joe.

Rumor has it that the studios is looking at Bruce Willis for that part, which is an obvious choice. He’ll do fine but perhaps there’s other actors that would work just as well? We’ll see and we’ll let you know as soon as we know.

When asked about his role in Jaws 4: The Revenge, Michael Caine once said, “I never saw it—but I saw the house it paid for, and it’s fantastic!” I suspect John Turturro’s been saying something similar for the past four years whenever he’s asked about the Transformers movies. Now we can add John Malkovich and Frances McDormand to that group. And maybe Alan Tudyk.

The plot is as labyrinthine as it is unnecessary. Back in the early 1960s, a ship from war-torn Cybertron (if the Transformers spend all their time fighting, how did they ever evolve?) crashed on the moon. Among the cargo were several “Pillars” that have some sort of significance to the war.

Also, a big, tough Autobot named Sentinal Prime. The White House gets wise to this, and thus we have the impetus for the moon landing (apparently, many historical events were due to Transformers; they don’t get around to revealing that car in which Kennedy was shot was an Autobot, but there may be a fourth film).

Fast-forward to the present day, where the Autobots are now working for the Feds to preserve humanity (how did we ever get along without them?). While on a mission to Chernobyl, Optimus Prime discovers some remnant of the Pillars and decides that it’s high time to revive Sentinal. Also, the Pillars are somehow able to teleport things, which means that it can be used to bring an army of invading Decepticons to earth (according to Frances McDormand, National Intelligence Director).

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HBO’s True Blood premiered last Sunday as fortunately, it’s back in a big way. With the new season has come some great new twists and turns as welll as some new opportunities for cool action, sex and blood-soaked fun.

It is True Blood, after all.

To help get you in the mood for some more cool vampire action, we’ve got a preview for Sunday’s brand new episode to share with you today.

In it, you get more info on what’s going on with Bill and where’s he’s been, more on Eric and his new job, more about Tara and her new friend and more about the new threat to the citizens, both alive and undead, of Bon Temps, LA.

Click through for the preview. You’ll be glad you did.

True Blood airs Sundays at 9/8C on HBO.

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He’s had a career most directors would kill for and has been nominated and/or won pretty much every award and accolade show business has to offer. So, after all that, what does he do? Go to Comic-Con in San Diego, that’s what.

That’s right, the man who brought us such films as The Godfather, Apocalypse Now, The Conversation and Dracula is heading to Comic-Con in a few weeks to promote his latest horror project Twixt. The director, who hasn’t been to the Con since 1992, will present portions of the experimental film he calls “one part Gothic romance, one part personal film, and one part the kind of horror film that began my career” on Saturday, July 23 in Hall H.

The film, which stars Val Kilmer, Elle Fanning and Ben Chaplin, reportedly incorporates live music by performance artist Dan Deacon, who will be at the panel. Other than that, details on the film are still scarce. I’m sure that will change soon . . . probably sometime around July 23rd.

This just might be the one thing that gets me to go to Hall H. It sure as hell won’t be Twilight.

You may have heard of a film called Sullivan’s Travels, and if you’ve heard of it, you may know the gist: Popular but unfulfilled director Sullivan is tired of making commercially successful but emotionally and intellectually vapid films. He decides that his next film (named O Brother, Where Art Thou?) will be a socially conscious depiction of the lower classes.

Through a series of comic mix-ups, he gets tossed in prison. One night a cartoon is screened for the inmates and Sullivan has an epiphany: The best way he can help the downtrodden is not by making high drama, but low-brow crowd-pleasers.

Larry Crowne is the kind of movie Sullivan would make if he were alive today. It’s full of plot-holes, cheap laughs, lazy pop-culture references, and utterly devoid of conflict. But for the women-age-45-and-up demographic wanting to see a cute romantic comedy with Tom Hanks and Julia Roberts (have they ever been paired together? I can’t recall), this should suffice.

Tom Hanks, who wrote, directed, and produced it, plays Crowne, a middle-aged supermarket drone/former Naval cook who loses his beloved job because he never went to college. Low on cash but doggone tenacious, he enrolls in community college, taking a speech class taught by the jaded Mercedes Tainot (Julia Roberts, who’s getting more attractive with age) and an Econ 101 class taught by the zany Dr. Matsutani (George Takei).

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