It’s been almost a year since we first brought you news of Jeremy Renner starring in the fourth film in the ‘Bourne’ franchise. All that time we’ve wondered how he would do as the new Bourne and if he would be able to make us forget about Matt Damon who, let’s face it, did a pretty good job.

Well, pretty much all of our questions have been answered now with the first trailer for The Bourne Legacy being released today. In it we see Renner in action as the new ‘Bourne’ (actually, as a character names Aaron Cross, but who’s counting?) and also get a better idea of where his character comes from.

We also get more of an idea who will be accompanying him on his journey. Fortunately, many of our favorite supporting players also make an appearance. All of it serves to make this trailer, and the upcoming film, look pretty darn good.

As to the question of Renner helping us to forget about Matt Damon, the answer to that is “Matt Damon who?” Plus, the movie has Rachel Weisz in it so we’re going no matter what.

Look for The Bourne Legacy, directed by Tony Gilroy and featuring Renner, Rachel Weisz, Edward Norton, Joan Alley and Albert Finney, to hit theaters on August 8. Check out the trailer after the break.

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Great news for Jams Bond fans everywhere. Deadline is reporting that a deal has been made and beleaguered studio MGM has announced a new Bond film, dubbed Bond 23, is set to go into production later this year with an eye to a November 9th, 2012 release.

In more good news, Daniel Craig will be returning as the legendary British secret agent, with Sam Mendes directing a screenplay written by Neal Purvis, Robert Wade and John Logan. That script is being kept under wraps, of course, but we do know the story begins after the events of Quantum Of Solace.

In addition, there’s no word on who might play the next Bond villain or, in more important news, who will be the next “Bond Girl.” While those are being hashed out I would also like to recommend to Sam Mendes that he give Felix Leiter a bit more to do this time around as I would like to see Jeffrey Wright keep getting work. Also, I would not mind if Olga Kurylenko came back for this one either. She’s always welcome.

Of course, given Daniel Craig’s “friendship” with Rachel Weisz, there’s always a chance she might make an appearance. That would be ok with me as well. We probably won’t see Kate Winslet in this one though, for obvious reasons.

As for other villains or Bond Girls, who would you like to see make an appearance in Bond 23?

Peter Jackson has made films that many have considered “instant classics”, such as The Lord of the Rings Trilogy, a bloated and unnecessary remake in the form of King Kong, and some little-seen but great cult classics such as Bad Taste, Heavenly Creatures and The Frighteners. His newest film, The Lovely Bones, adapted from Alice Sebold’s novel of the same name, is kind of a combination of all of the above.

The story focuses on Susie Salmon, a fourteen year-old girl who lives in rural Pennsylvania with her parents and two siblings. She describes to us, via narration, what she wants to be when she grows up, her disliking of a snowglobe with a penguin in it, and even how she normally gets the “skeevies” when she sees someone looking at her weirdly. She didn’t get that last feeling soon enough, which inevitably leads to her murder and time spent in the “in-between” Heaven and Earth.

We see that the Salmons are an idyllic family as they get Susie a camera for her birthday. She is in the throes of her first unrequited love, and even has to suffer through a film club that makes her watch Othello with that guy “who has two first names. Laurence. Oliver.” It’s after this class, and a bold move from the boy that she likes, which leads her into the hands of Mr. Harvey.

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Shortly after I read The Lovely Bones in 2002, I started hearing rumblings that it was being optioned for a movie. My immediate reaction was “Why?” The emotionally devastating novel about the rape and murder of a fourteen year old seemed like dubious source material. The murdered girl resides in a self imposed ethereal limbo-land between heaven and earth for most of the book, making it logistical nightmare to film. I just didn’t understand how a filmmaker could pull it off.

In the case of director Peter Jackson, he couldn’t, and he didn’t. Jackson worked his magic with the Lord of the Rings trilogy, but he is woefully out of his element here. The most shocking thing about seeing the film is that it is completely devoid of any emotion or warmth, the very characteristics that made the book so beloved. So much consideration is given to unnecessary special effects (that don’t even look good) that the crucial human interactions are lost, and that is a true pity. If you take those away, there is no reason to see this movie.

Oscar-nominee Saoirse Ronan (Atonement) plays Susie Salmon, who disappears on her way home from school one day. A nerdy and harmless looking neighbor, Mr. Harvey, lures Susie to a root-cellar like building in the middle of a field with the sheepish confession he has built a playhouse for the neighborhood kids. Susie feels honored to be the first child to see the playhouse, but she is ultimately raped, murdered, and dismembered in the claustrophobic dwelling.

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Director Rian Johnson hit it out of the park with his first film Brick (2005), a small, quirky indie film with a grade-A cast and some amazing style. The Brothers Bloom looked just as good, but unfortunately had a small run and I was unable to see it in theaters.

The film centers around two brothers, Stephen and Bloom, who after being orphaned and shuffled between various foster homes, become con men to make it in the world. They’re rather good at it, but after having made a name for themselves, Bloom decides he wants out. The two brothers, along with their sidekick and explosives specialist Bang-Bang, plan the perfect con to go out on: showing a reclusive but beautiful heiress, Penelope, a good time on a  journey across the globe. Problem is, Bloom can’t con a woman without falling in love in the process.

This film’s story makes it stand out. Because it’s a movie about con men, it’s hard to know when to trust what’s going on as the absolute truth. The movie will trick you, but that’s what makes it great to watch for the first time. You’ll be guessing the brothers, especially Stephen, at every turn.

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The big screen adaptation of Alice Sebold’s best selling novel The Lovely Bones, which we reviewed right here, finally has a trailer and we’ve to it right here for you. In case you’re not familiar, the story follows the tragically short life and afterlife of Susie Salmon, a young girl who is murdered one day on her way home from school.

After that event, the story followers her family as they attempt to understand and come to terms with Susie’s death and also find her killer. It also follows Susie who, now in her own personal version of heaven, looks down and narrates the story as she watches her family attempt to get on with their lives. While doing this, she’s also consumed with a mission to help track down her killer.

The Lovely Bones, which features Mark Wahlberg, Susan Sarandon, Rachel Weisz and Saoirse Ronan as Susie, hits theaters on December 11. Until then, check out the trailer after the jump.

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“I think you’re constipated in your soul,” Rachel Weisz says to Adrien Brody before going into an orgasmic fit at the oncoming thunderstorm in Rian Johnson’s second film, The Brothers Bloom. That was the peak of Weisz’s eccentric and electric role as Penelope, the mark of Adrien Brody’s Bloom and Mark Ruffalo’s Stephen Bloom.

Ruffalo’s Stephen Bloom is the storyteller, the man with the set-up, writing all the key roles and setting up the players. Brody plays Bloom, (Bloom?), the heartthrob, the bait if you will, that gets the women the men con. Tired of having a scripted life setup by his brother Stephen, Bloom sets off to live “a life that is unwritten.”  Just to be lured back into one final con: to get what everyone really wants.  The mark is Weisz’s Penelope a shut-in “rich bitch from New Jersey,” as Brody says.

The con is to swindle Penelope out of her bottomless treasure trove of riches in the name of getting a priceless book, which is really mostly scrap paper. The plan is to include her in the action. Through this, Stephen the storyteller introduces us to the world that he and his brother interact with including a cast of colorful characters such as Robbie Coltrane’s farting Belgian The Curator, and Maximilian Schell’s Diamond Don, and the brother’s nitroglycerin expert Bang Bang played with Chaplin-esque silent comedy by Babel‘s Rinko Kikuchi.

That setup really is just a con to get everyone involved. The perfect con, or as Ruffalo likes to say, is “to give everyone what they want.” To give Penelope an adventure, to live a life to which all of her separate and unique abilities can be put to use, and to give his younger brother a good life with a woman he can live with.  This is literally the sole purpose of Stephen’s final con-to give everyone what they want, including himself with heart breaking results.

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Initially, I never intended to read The Lovely Bones because I assumed it was a touchy-feely tearjerker about the brutal death of a child and how a family copes with their loss.  And well, who needs that if you read the newspapers or even watch the evening news?   Let’s face it, the media never seems to have a shortage of stories covering the depravity of humankind towards children.  Quite frankly, it’s depressing.  That was initially, when the book was first published, several years ago.

However, when the book came out in paperback a couple of years later, I was lured by the hype and hyperbole of glowing book reviews and Costco’s low prices. Yes, indeed, I succumbed to the pressure of mass marketing and found myself the owner of a brand new paperback edition of The Lovely Bones by Alice Sebold.

I have to admit that the first reading of the book a few years ago left me vaguely dissatisfied.  Now don’t get me wrong.  The writing was excellent.  The details and authenticity of the characters were creative and compelling.  The story line was engaging and well paced.  And the first person voice of the fourteen years old, alliteratively named, Susie Salmon, the victim, who narrates the story was pure genius.

After all, it is practically the ultimate voyeuristic experience, going inside the mind of the victim, seeing through her eyes, before, during and after her brutal rape and murder by a neighbor, and then following her to heaven and then back to earth again.  Talk about your creative license!  Isn’t that what good literature is all about?  It takes us above and beyond the ordinary, engages us in a world we would not otherwise know, and allows us to feel, think and see, through the eyes of another, from a different perspective.  It nourishes our minds and emotions and broadens our horizons.  The Lovely Bones satisfies all these criteria, and does so with a sense of quiet composure and restraint.

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