The Last Exorcism

Premise: From executive producer Eli Roth -- who you either remember as the schlock horror director behind Hostel or the SAG Award winner for his role as The Bear Jew in Inglourious Basterds -- comes The Last Exorcism, a faux-documentary about a charlatan's "last exorcism" that combines elements of The Blair Witch Project with The Exorcist.

Reviews: Surprisingly... solid. Perhaps because critics have been pummeled into submission by the summer's worse efforts, The Last Exorcism has gotten a pass from most major critics it's currently sitting with a nearly 70% positive rating on Rotten Tomatoes. Christy Lemire from the AP says it's "one of the scariest movies to come along in a long time," which means it's at least as scary as Eat Pray Love.

Should you see it: If you feel like having a good nightmare tonight, then yes.

Takers

Premise: A group of high-minded criminals (Idris Elba, Hayden Christiansen, Michael Ealy, musicians Chris Brown and T.I.) get together for one last heist while an honest and determined cop (Matt Dillon) tries to stop them.

Reviews: Timmmmbbberrrr. The critical consensus on Takers can be summed up in three reviews: Nathan Rabin of the AV Club compares it to a liquor ad; Betsy Sharkey's review in the Los Angeles Times claims the movie would be good to sleep through, if it weren't so "noisy"; and the Boston Globe's Ty Burr suggests the cameraman try a dose of Ritalin next time.

Should you see it: Not unless you're in a relationship of some kind with Hayden Christiansen.

Centurion

Premise: Director Neil Marshall (The Descent, Doomsday) brings his hyper-violent style to Scotland during the Roman Empire for Centurion, a tale of Roman soldiers left behind enemy lines that includes more than a few decapitations.

Reviews: Just about middle of the road. The mileage critics have gotten out of Marshall's latest seems directly proportional to how they react to his violence. For some (EW's Chris Nashawaty, Betsy Sharkey) it's more than enough to sustain a film; for others (the Post's Kyle Smith, Roger Ebert), it's not.

Should you see it: Do you like movies about Romans? How about decapitations?

Mesrine: Killer Instinct

Premise: Vincent Cassel (Eastern Promises, Ocean's 12) stars as Jacques Mesrine, a French gangster who shot to prominence as "Public Enemy No. 1" in this 2008 French import.

Reviews: The great French cast aside (Ludivine Sagnier, Mathieu Amalric), critics all seem to agree on one thing: Cassel is brilliant. "Riveting," writes Tasha Robinson for the AV Club, with others use buzz words like "knockout" and "spectacular" to describe Cassel's performance. Just don't tell Armond White, though -- he hated it.

Should you see it: Compared to the rest of this lot, absolutely.

The chemistry you have with Patricia Clarkson in the film is so incredible. Had you known her before Cairo Time?

I knew her by name - who wouldn't? - but I didn't know her work. I hadn't seen The Station Agent or any of the other amazing films she had done. I don't think she had seen anything I had ever done. We jumped right into the deep end. We filmed one of the most crucial scenes in the movie first. (Laughs) We just took off. She just takes your breath away - there's something about her, the way she looks. It's like she has some deep wisdom attached to her face. That immediately captivated me, I immediately knew - I think people call it old souls. But people like myself call it intelligence all over her face. [Laughs]

Were you relieved to have such an immediate connection? The movie completely relies on your relationship.

If we didn't have that connection, the movie would have ceased to exist. It hangs by a thread as it is. It is so fragile in the sense that it is a personal document that you just can't repeat. I just swam in Patricia's presence. It was that free, it was that wonderful.

Once you realized the chemistry, was the script tailored to that growing bond?

Ruba Nadda [the director] was on that - she's a very tough cookie. She doesn't seem like it. She comes across, she's very chatty, enthusiastic and youthful and she doesn't parade around her intellect. She's like a friend; someone you know. And then once on set, she's marshalling the troops. She's doing all the things you need to do to relax as an actor. She does say, "This scene isn't working; can you give me an idea of what to do?" As an actor that's great to be part of the process. OK, let's do this. One of the very first scenes we shot was one occasion when Ruba turned and said that it wasn't working - whether it's the dialogue or something else. She wasn't getting it. We took a moment and sat behind the camera and stripped all the words out of the scene, did it without words. That sort of thing very rarely happened, but it did happen the very first day. (Laughs) From that moment on, we all knew where we were and we were running.

Would you work with Ms. Clarkson away from the shoot to really hone things?

I couldn't wait to get upstairs after shooting, where I knew Patricia would be learning her lines for the next day. I'd order some tabbouleh and talk to this fine woman to find out who she was. It was massive, ongoing improvisation off the set to learn who each were and to explore each other. She was really generous.

You've done a ton of varied roles, but never a romance like this. Was it something you were actively looking for?

I would have given my eyeteeth to play a romantic lead. Within ten minutes of being offered that role, I took it. I had no idea it was coming. I had massive aspirations to do that but I never thought anyone would offer it to me. I knew that I was an Arab man in a Western world. I have played all kinds of other things, but recently my identity has morphed into an Arab character. So it was a shocking and wonderful surprise - and even more shocking and humbling that Ruba had seen me before in something and written it with me in mind.

Was that difficult - knowing that it was written for you, did it put more pressure on you to perform?

She told me one thing - she gave me one piece of direction before the film: "I based this on my father." And I knew the way she said that and in her eyes, how she felt about her father. That's a massive tower in her life. That was a book to me - it was really all the information I needed. It's a male fantasy: How good a father can you come up with? How can you stand up to a guy you never met? That was the challenge. Not that I felt I couldn't do it, I just got really humbled by it.

You mentioned before that you've played a lot of Arab characters recently. Does that frustrate you at all? Do you feel boxed in as a performer?

I asked for work and it came. And it came in buckets. So, no: I'm very grateful for that. When people say they feel typecast, it doesn't exist. You are who you are and take it or leave it. You play to your strengths. I'm very lucky - I do get to participate in great projects more often than not. Partly because I'm in a little niche that is being thoroughly explored right now.

But did you relish the opportunity to play something so different?

I had an opportunity to present to the world a real, refreshing person that they really haven't seen for a very long time - even if you weren't an Arab - since like James Stewart or something. This really dignified upright guy. I knew I had a chance to show audiences a new person they never met before. The fact that he was Arab was ginger - these are the bête noire of our society, or were - and I'm going to show them someone fabulous. It was great.

It really is a classic American male role. Very masculine and Gary Cooper-like.

Really masculine - right there: Boom, there he is. And I'm opposite Katherine Hepburn. And we're going to do the movie. It's just - I'm 44. These are the movies I grew up with.

Will you try to find other projects like Cairo Time going forward?

I'm not in the position to find the prey that I seek. I have to wait for it to wander across my path and I shoot it. (Laughs) I'm never going to be in a position to go to my agent and be like, "Get me this!" I'll never hear back from her.

Blame Kevin Smith, or perhaps Edward Burns. They took their little indie films (Clerks and The Brothers McMullen, respectively) to the festival circuit in the mid-'90s, grabbed a distribution deal and went on to fame and fortune. "The popular story that got everyone's attention at the time was the young filmmaker who put the entire film on his credit card,"  actor William H. Macy told The Observer. "His parents mortgaged their house and he sold his car, and it went to Sundance and Harvey Weinstein brought it for $8 million and everybody got healthy.

"But for every one of those stories, there's a Colin Fitz. There are a lot of very expensive home movies out there."

The long and (rather incredible) winding road for Colin Fitz, in which Mr. Macy co-stars, ends on Wednesday, Aug. 4, when the film is resurrected as Colin Fitz Lives! and available on demand via Sundance Selects. For those keeping score at home, that's more than 13 years after it premiered in competition at the Sundance Film Festival, in 1997.

Colin Fitz is a very witty film about two security guards (Matt McGrath and Andy Fowle) guarding the grave of rock star Colin Fitz on the anniversary of his death. Over the course of the evening, beers are chugged, epiphanies are had and a bunch of very familiar faces show up in supporting roles-in addition to Mr. Macy, there's Martha Plimpton, John C. McGinley, Julianne Philips, Mary McCormack and Chris Bauer.

Shot over two weeks at Woodlawn Cemetery in the Bronx for $150,000-and completed in postproduction for an additional $100,000-Colin Fitz went from table reads to the film festivals in six months. "It was pretty crazy how fast it happened," said Colin Fitz screenwriter Tom Morrissey.

But that was just about the only thing that went quickly: Despite the positive reception the film received at festivals-New York Times critic Caryn James called it a "deftly amusing dark comedy" when it premiered at Sundance, and it was named "Best of the Fest" at the Austin Film Festival-finding an acceptable distribution deal proved difficult. "Deals were offered," director Robert Bella said in an email to The Observer, "but unfortunately none of them would cover all of our finishing costs. ... I tried for over a year after Sundance to try and secure a deal that would allow me to pay everyone back and get the film, as well as myself, out of hock."

For Mr. Morrissey, it was a hurdle he never expected to encounter. "It was terribly disappointing," he said. "It started to feel that it was easier to write and make a movie than it is to get it distributed. You have to answer the question from your aunts and uncles and everyone you know: 'When am I going to get to see your movie?' It was very frustrating-'I don't know ... maybe soon?' And then your voice just trails off."

Said Mr. Macy: "There can be bit of shame attached to [not getting a deal]. We went to Sundance and didn't sell. It's like when someone goes into rehab, you don't want to go, 'Hey, I heard you're a drunk!'"

While friends, family and the general public weren't able to watch Colin Fitz, the film had a loyal following. "There was a cult status that it went into-people writing about it online, scenes went onto YouTube," said Matt McGrath. "People were carrying this torch for this thing."

Those fans plus the persistence of director Robert Bella kept Colin Fitz alive. "For nearly a decade, I slowly paid down the debts and bought back the pieces," Mr. Bella said. "Little by little, the total amount owed got smaller and the finishing costs were reduced, which ultimately made it much easier to sell the film."

That and some new, never-before-seen talking-head interviews (including Fitz fan Harry Knowles), which further fleshed out the film. "IFC felt that the new footage helped frame the original story in a great way, while allowing them to release a new film, rather than one from 1997," said Mr. Bella. Arianna Bocco, IFC/Sundance Select's vice president of acquisitions and distribution, purchased this version of the film, newly titled Colin Fitz Lives!, from Mr. Bella over drinks.

"It just sounded like, 'Are you kidding me?' After 14 years-we made it in 1996-I didn't even think Robert was still plugging away at this," said Mr. McGrath. "I'm curious to see it, especially this version."

Mr. Bella told The Observer that he paid for the delivery of the original Sundance cut to IFC, and hoped that they would release both versions of the film eventually.

As for Mr. Morrissey, forgive him for still having a bit of trepidation, even on the eve of the release. "Honestly, I was waiting for the other shoe to drop. I think after 13 years, I was entitled to think that. But now that it's finally here ... will I tell my aunts and uncles to go watch it? Definitely."

editorial@observer.com

On the rumors of American Idol deals with producer Nigel Lythgoe, Jennifer Lopez and Steven Tyler

What Peter Rice says: "No one has signed a deal yet. There are no signed deals with anybody. There has been tremendous speculation. I can tell you that much of the information that has been written is accurate and some of the information is wildly inaccurate."

What Mr. Rice means: Yes, all those people will be on American Idol this season, but I can't actually say that. Until I can, continue to idly speculate and drive hits to your various web sites with false rumors.

On the Fox fall pilots

What Mr. Rice says: "I think, in an overall view, we're in the talent business."

What Mr. Rice means: There are no 'Til Death-like shows on tap, so that's something, right?

On Fringe, the J.J. Abrams-produced science-fiction show that airs on Thursday nights

What Kevin Reily says: "We have no intention of screwing with Fringe because the show's doing great."

What Mr. Reilly means: We'll move it around if it continues to struggle and then eventually cancel it.

On whether or not Fox came close to hiring Conan O'Brien

What Mr. Reilly says: "I don't think we have to go into the Conan thing."

What Mr. Reilly means: We can make more money rerunning Seinfeld than we can with Conan and all his Twitter followers combined. Sorry, millenials!

On the big elephant in the room -- Mr. McPherson's exit

What ABC says: Communications EVP Kevin Brockman carried a stuffed pink elephant on stage. Har!

What ABC means: Pay no attention to the man behind the curtain, television critics! Laugh as we quickly hose down any existance of Mr. McPherson running our network and promise not to answer any further questions about what happened. Next!

On what Mr. Lee thinks of the ABC programming

What Mr. Lee says: "I don't think I've had a chance to figure out what that mix should be."

What Mr. Lee means: Hey guys, I just started. Is Lost still on?

On Happy Town, a lowly rated spring series that was pulled off the air before its season completed

What Mr. Lee says: "We're a competitive network and we want to stay very competitive."

What Mr. Lee means: Happy Town? No, I want to keep this job, not write a resignation letter that highlights my burgeoning wine-selling career.

On his philosphy about being a TV executive

What Mr. Lee says: "This job is certainly about creating new, strong brand-defining hits."

What Mr. Lee means: If anyone has another pilot script lying around that looks like Lost, please shoot me an e-mail.

1. Inception: $27.5 million ($193.3)

Over the weekend Inception joined Avatar, Alice in Wonderland and Shrek Forever After as three-peat box office champions in 2010. Christopher Nolan's cash cow continued to experience remarkable staying power -- it dipped only 35 percent -- and should cross $200 million by the middle of the week. The power of a spinning top and repeat viewing.

2. Dinner for Schmucks: $23.3 million (new)

The kneejerk reaction to this opening is to state that Dinner for Schmucks bombed, especially since Date Night -- the last comedy with Steve Carell's face front and center on the poster -- opened to $25.2 million in the spring. But considering Schmucks opened on roughly 500 less theaters and didn't have the benefit of Tina Fey in a co-starring role (Paul Rudd is in no way a major draw), the $23.3 million start feels just about right. Date Night -- helped by great word of mouth and a lack of competition -- was able to stay in the top-ten for two months. Whether or not Schmucks can repeat that trick in the busier summer is a different story.

3. Salt: $19.2 million ($70.8 million)

Down 46 percent, Salt certainly isn't making a big dent in the cultural landscape, but it will probably cross $100 million by Labor Day and -- thanks to Angelina Jolie -- do strong numbers internationally. The Phillip Noyce film isn't performing as well as Ms. Jolie's last summer entry, Wanted -- which had $90 million in the bank after two weekends -- but don't forget: That film opened the week before the Fourth of July holiday.

4. Despicable Me: $15.5 million ($190.3 million total)

There's that Steve Carell again! With the lowest decline in the top-ten, Despicable Me continued on its warpath toward $200 million, a number it should hit sometime this week. Just imagine how much the sequel will earn!

5. Cats & Dogs: The Revenge of Kitty Galore: $12.5 million (new)

If you dragged your poor children to see Cats & Dogs: The Revenge of Kitty Galore this weekend, child services is on their way. The 3D sequel -- what, you don't remember when the original film came out nine years ago? -- was able to hold off Zac Efron's Charlie St. Cloud by less than $400,000 to claim fifth place. Of course since Kitty Galore had production costs nearly double those of Charlie St. Cloud, Warner Bros. is probably none too pleased. They'll wipe their tears with money from Inception.

On the low ratings for The CW programs

Ostroff says: "The days of waking up and looking at the overnight ratings are gone."

Ostroff means: We're The CW! It doesn't matter if Gossip Girl gets ratings comparable to shows on AMC and HBO -- as long as its cast still features heavily in magazines and on blogs, we're golden. It's the illusion of success that counts.

On the lack of comedies on The CW

Ostroff says: "We don't really develop comedies."

Ostroff means: Comedy comes naturally to our existing shows. Have you seen an episode of Gossip Girl lately? It's a laugh riot.

On the evolution of how viewers watch TV

Ostroff says: "Our young viewers are the first to migrate to other platforms."

Ostroff means: The days of people watching television are just about over. Weep for the death of the medium.

On new series, Nikita, a spy-drama based on La Femme Nikita

Ostroff says: "The writing was very strong. Danny Cannon did an amazing job directing the show. McG is one of the producers. It was just an incredible package."

Ostroff means: This is what being a television executive in 2010 means: You have to say something with McG's named on it is "incredible."

On Hawaii 5-0, a reboot of the iconic classic

Tassler says: "You have to look at the audience that is going to remember the original show. You want to be respectful, in a way a kind of homage. But for us, we loved the pitch so much. [...] I think that it has got great humor. It's got great action. Those characters pop. It's got those great beach scenes."

Tassler means: The audience that's going to remember the show might as well not even exist. This is a reboot! With action on the beach! Who wouldn't want to see this?

On Mike & Molly, a new sit-com from Chuck Lorre about an overweight couple

Tassler says: "I thought, 'It's Chuck Lorre.'"

Tassler means: Audiences love his lowest common denominator television series (see: Two and a Half Men, The Big Bang Theory), so why wouldn't they love this one?

On David Letterman

Tassler says: "As long as Dave is happy and Dave wants to stay around, we're very happy to have him there."

Tassler means: You think we'd screw up a good thing like NBC? Get real.

On $#*! My Dad Says, the William Shatner-led comedy show based on a Twitter feed

Tassler says: "We haven't really gotten pushback yet [on the title]." She also confirmed that "most scenes" in the pilot would be reshot because of some casting changes.

Tassler means: This show is a mess, but when we ordered the series, @BPGlobalPR wasn't up and running yet.

It starts, as things often do, with Rihanna. The multi-platinum "Rude Boy" singer has decided on her first film role: Battleship. And if you're wondering: Yes, that is the same Battleship that you played as a kid. As in, this movie is an adaptation of a board game. Though in this case there are aliens and two television icons: Eric Northman from True Blood and Tim Riggins from Friday Night Lights (Alexander Skarsgard and Taylor Kitsch, respectively). If they can find a way to toss in Taylor Lautner, the Peter Berg film will have enough torsos to fill Hollywood's shirtless quota for the next decade.

But wait, there's more: AMC announced this morning that rapper-turned-actor Common will be fronting one of their new series. He'll star in Hell on Wheels, a western all about the building of the Transcontenental Railroad. Common will play a mixed race escaped slave who "does not completely belong in either world." Exciting! Of course with Don Draper and Walt White already at the network -- and the promising Rubicon plus Walking Dead coming up -- he'll have some big shoes to fill.

Finally, lest you think it's only music industry stars infringing on the movies, there's Terry Gilliam. The sometimes-acclaimed director has agreed to film Arcade Fire's Aug. 5 concert at Madison Square Garden. Knowing Gilliam, expect things to be overly long, quite obtuse and wrought with behind-the-scenes problems. Also, don't rule out a cameo from Johnny Depp.

Wes Anderson

People criticize Wes Anderson for always doing the same thing, but give credit where credit is due: So do plenty of other directors. Anderson had what many felt was a creative renaissance with the fantastic Fantasic Mr. Fox and if he can conquer stop-motion animation, why not cable? Desn't his brand of off-kilter characterizations and hipster tweeness lend itself well to something spread out over the life of a series. His movies feel like truncated novels anyway -- HBO would let him explore the space even further.

J.J. Abrams

OK, this is kind of a cheat, since J.J. Abrams started on television and still has two series on the schedule for the fall (Fringe and the upcoming NBC show Undercovers). But now that he's a big-time movie director, maybe he should give HBO a try. Think about it: An Abrams-produced weekly series that combines elements of Tales from the Crypt and The Twilight Zone, with Abrams as the de facto Rod Serling. You can even set the show in the '50s to make it have even more of a retro feel.

Francis Ford Coppola

Be honest: Francis Ford Coppola hasn't been relevant for decades, so what place better than HBO to reignite the brand? Give the winemaker 13 episodes to create a family drama set in the warm glow of the California sun and let him go nuts. Just don't let him cast Vincent Gallo in anything again.