I’ve had, for some time, the suspicion that the current comedy troop of Rogen, Hill, Cera, and Franco would eventually get to the point where, instead of a script, they would just sit around and talk. Now we have This Is the End, and if this isn’t the logical conclusion of the gang’s comedy, it’s damn close.

The premise is that Jay Baruchel is in LA to visit his friend Seth Rogen. Their friendship has been on the skids, and Rogen’s insistence that they attend a party at James Franco’s house instead of, I don’t know, hang out and smoke weed. doesn’t help. At Franco’s they meet up with Craig Robinson, Jonah Hill, and several others within or slightly out of their group’s ever-expanding radius, such as Aziz Ansari, Mindy Kaling, Martin Starr, Chritopher Mintz-Plasse, and now, I guess, Emma Watson.

Freak disruptions start to occur all over the place — sinkholes swallow up many of the party-goers, others are lifted to heaven in columns of blue light, fires explode across Hollywood, and the five find themselves barricaded in Franco’s house — until Danny McBride shows up and makes their sixth.

On May 2, 2011, special forces from the United States stormed Osama bin Laden’s compound at Abbottabad, Pakistan. That I had to look up the precise dates and location and confirm that they were our own special forces (and not, say, some coalition) testifies to my ignorance. However, I don’t think I’m alone in not knowing the full details of Operation Neptune Spear (yeah, looked that one up, too), and Kathryn Bigelow’s (The Hurt Locker) Zero Dark Thirty offers a glimpse into the operation and an overview of what’s been called “The Greatest Manhunt in History.”

We know the details of 9/11 – what happened, where it happened, and who was responsible – the how and why are still debated, but they’re fairly established – and Bigelow begins with this common ground, opening the film with some of the calls made on that day. There’s no image – no footage of the planes crashing or anchormen reporting or families weeping or rescue workers toiling or world leaders speaking or terrorists threatening. Just the calls.

One of the cornerstone elements of James Bond that has been absent in the Daniel Craig films has been the master of the gadgets, Q. Holding him back was likely to help make the films a little more serious, and in honesty it worked.

For the third new era Bond fans are expecting the franchise to start taking steps into the larger and more iconic sandbox that is James Bond. Especially considering that the film is being released in the 50th anniversary year.

The studio seems keen to deliver what the fans want as they have indeed put Q in the new film, and EW.com has just snagged the first official image of Ben Whishaw in character.

A younger, ‘nerd-chic’ version of Q might not sound like the right direction on paper, but looking at Whishaw in this image evokes all the right feelings in this Bond fan. Even if his wardrobe looks a tad like it was put together as a hipsters greatest hits outfit.

You can expect more tidbits and news on Skyfall in the coming days, as it is ‘geeks inherit the earth’ week down in San Diego. Stay tuned to The Flickcast for news from the show.

You can see the full-sized image after the jump.

Lawrence of Arabia (1962) is one of the greatest films ever made and a tie for my number one favorite film alongside Dr. Strangelove (1964). It is one of director David Lean’s most lasting legacies in Hollywood and a truly epic one-of-a-kind film. It was a film that was the inspiration to future filmmakers Steven Spielberg, Sam Peckinpah, Martin Scorsese, and George Lucas.

I first saw the film at the age of twelve when my father took me to the Ziegfeld Theater in New York City in 1989 for the film’s restored re-release. My father told me that it was his most favorite film and that I was very privileged to see it on the big screen. I will never forget when the lights dimmed and Maurice Jarre’s score played before the opening credits of the film. It was the first film that I can remember where my eyes were completely fixed to the screen in fear that if I turned away for a spilt second that I might miss a pivotal moment.

As I began rummaging through the popcorn bag, I looked over to my father who smiled and gave me a wink. My experience seeing the film on the big screen was like for so many others, a film, which made me want to become a director and it solidified my love of cinema from that moment forward.

One of the biggest enigmas in the crowded summer blockbuster season is how will the average movie goers take a rebooted Spider-Man so close to the success of the Raimi trilogy. How the reboot is received is going to be an important indicator for the longevity of the comic book movie as we know it.

In the last decade comic book films have rewritten a lot of the rules for how major franchise movies act in cinemas, pretty much demolishing the previous axiom that sequels suffer from standard diminishing returns. Now the success of an event film has much more to do with the reception of the previous film in the series and over all franchise health.

This summer brings two old comic book standards to the big screen, the team-up and the reboot. If these are successful it could signal to other studios that movie going public is keen on these characters, and will show up for a good film starring them even if the story is going back to the beginning.

So a lot is at stake, and as such the marketing push for The Amazing Spider-Man has been going strong for awhile now, keeping ole web head in our minds during the spring and early summer event film season. The newest bit of advertising is a brand new poster featuring some battle damaged Spidy. A really great, simple image that is reminiscent of the Raimi era character posters, while still feeling very much a part of the new tone for the series.

You can check out the full poster after the jump.