Shorts, 9/19.

"For a born Southerner such as myself, hailing from northwest Alabama, there are basically two kinds of movies set in the Deep South: authentic and inauthentic ones," begins Jonathan Rosenbaum's piece for Stop Smiling's "Issue 31: Ode to the South." "The former are those done by filmmakers who consider it worth the trouble to film in the right locations, with the right actors, using the right accents while giving some attention to the local folkways. The latter are basically those who don't know or don't care about such distinctions."

"Though directors of this 'Fifth Generation' once created films like Raise the Red Lantern and Farewell, My Concubine, which exposed cruel realities of country life and the Cultural Revolution, their biggest concern these days is box office numbers," writes Rebecca Chang, mapping a rift in current Chinese cinema for PopMatters:

On the other side of the game has been China's industry underdogs; this "Sixth Generation" of directors, often working at odds against censors, have cultivated a pop aesthetic and depiction of quotidian ennui Martin Scorsese has hailed as "some of the finest, toughest, most vitally alive work in modern movie-making." Against a state-run system aiming to reel in ticket sales, the Sixth Generation's work has documented the socially marginalized in urban dystopias, calling attention to a China that the government would just as soon not acknowledge. The filmmakers often shoot without approval or permit (thus earning the nickname of "underground directors"), regularly braving passport revocation and darkroom raids. Zhang Yuan's 1993 Beijing Bastard, Ning Ying's 1995 On the Beat, and Lou Ye's 2006 Summer Palace have all been exemplary works of the movement, though it is Jia Zhangke who has received the loudest acclaim, domestically and internationally.

"You have to work very hard, and take yourself very seriously as the keeper of the keys to America, to make a tedious documentary about the Second World War," writes Nancy Franklin in the New Yorker. "But that is what Ken Burns and Lynn Novick have done with their 15-hour series The War, which will begin on September 23rd, on PBS. They've taken a subject that is inexhaustible and made it merely exhausting."

Politics or business? Bit of both? Reed Johnson looks into the conflicting takes on why Warner Bros won't be distributing Luís Mandoki's La Democracia Simulada (The Simulated Democracy), a documentary on that incredibly contested election in Mexico last year.

Also in the Los Angeles Times:

• Jay A Fernandez talks with screenwriter Brad Kane about the umpteen pans he's got on the fire - a Richard Pryor biopic; a screenplay for Antoine Fuqua; an "assassin-in-exile action film 'Matt Helm,' DreamWorks' answer to Universal's Bourne blockbusters" (and they really want to call him Matt?); and an adaptation of Elizabeth Kostova's bestselling The Historian. On that same page, Fernandez talks with John Sayles and assesses the state of negotiations between Hollywood's writers and producers.

• Mark Olsen talks with Richard Kelly about what all's happened to Southland Tales since its raucous reception in Cannes in the summer of 2006. Set to open November 9, it's been trimmed down to 2 hours and 24 minutes and jazzed up with hundreds of special effects. Even so, it remains "purposefully byzantine for even the most attentive of viewers. Characters have multiple names and identities, plot strands ebb, flow and intersect. Add to that Kelly's casting choices - drawing together such pop figureheads as Dwayne 'the Rock' Johnson, Sarah Michelle Gellar, Justin Timberlake and Mandy Moore into a kaleidoscopic swirl - and the experience of simply taking it all in, and it's pretty overwhelming." Who knows, could be a blast.

• "[W]hile Philip Kindred Dick was a disaffected loner in life, in death his ideas turned out to be pitch-perfect for a Digital Age that wanted science fiction not just about aliens but also about the alienated." Geoff Boucher considers PKD's posthumous Hollywood career. Related: David Gill talks with Jonathan Lethem about PKD for Article. Via David Pescovitz at Boing Boing.

• Patrick Goldstein meets the filmmakers behind All Ages Night, about ridiculously young and savvy musicians: "What fascinated me about this low, very low budget film was that it captures the Tell-All Culture of kids who live online as well as their rejection of the record industry's outdated star-making machinery."

• "As a wry screed on the military-style consumerist push that preys on our susceptibility to having our desires articulated for us - and too often lets us down - Czech Dream has an impish effectiveness," writes Robert Abele.

As Andrzej Wajda's Katyn, depicting the Soviets' execution of thousands of Polish officers in 1940, now opens across Poland, it's be "one of the largest releases in Polish film history," writes Jan Cienski. Also in the Financial Times, Peter Aspen meets Julie Delpy to talk about the bizarre love-hate relationship between the US and France.

Andrew Sullivan holding a contest: "Best. Movie. Line. Ever!" And he points to Raymond Chandler's piece, "Oscar Night in Hollywood," which ran in the March 1948 issue of the Atlantic.

New piece at Film International: John Orr's "Camus and Carné Transformed: Bergman's The Silence vs Antonioni's The Passenger."

Le Monde Diplomatique editor Truls Lie, too, has a piece prompted by the double whammy of the deaths of Bergman and Antonioni: "The wandering through thought's essential nature, through the history of the world's unruly abundance of experiences, practices, and thoughts (what many would describe as God) - in philosophy, or through the films of Resnais, Lynch, or many of the deceased film auteurs - brings together the thought, its absurd powerlessness, and the world," writes . "But instead of stepping out into a religious hinterland or mediocre media illusion-production, the challenge of thought is the ability to believe in the world."

Craig Keller's been thinking about Bergman as well.

Via Bookforum, Daisuke Miyao in American Sexuality Magazine on Sessue Hayakawa and Sony Pictures CEO Michael Lynton arguing - in the Wall Street Journal, naturally - that "the global economy in general - and the entertainment business in particular - is absolutely not turning the world into an American shopping mall." Well, that's a relief.

For the Telegraph, Sheila Johnston talks with Peter Hewitt about one of his favorites, Dead of Night.

So is Norma Khouri's book, Forbidden Love, about the "honor killing" of her best friend, a hoax or not? For the Age, Philippa Hawker talks with Anna Broinowski about her documentary, Forbidden Lie$: "I'm suspicious of playing amateur psychologist and giving you closure, I'd be wary of summing Norma up, I don't think that's possible."

"[A]s an exposé of corporate and state exploitation of the poor, [Bill Haney's The Price of Sugar] is nothing short of blistering," writes Nick Schager at Slant. Also: "Once upon a time, Amanda Bynes made a movie called Sydney White that so lazily transplanted Snow White and the Seven Dwarfs to a college setting that it made one pine for a poison apple."

In the Voice:

• Scott Foundas on Honor de Cavalleria, "writer-director Albert Serra's extraordinary, minimalist/naturalist take on the Don Quixote story."

• Aaron Hillis on Beauty Remains: "[T]he film plays like the work of a fifth-generation Chinese hack faking a lavish Hollywood saga on an indie budget: It's all soft focuses, sax flourishes, and silky slo-mos." More from Ed Gonzalez at Slant: "Director Ann Wu has Wongian aspirations, and though she means for the film to be opulent and woozy, it mostly registers as a stilted dream state." But Matt Zoller Seitz, writing in the NYT, finds it a "delicate figurine of a movie."

• Julia Wallace on Adrift in Manhattan: "[Y]ou can't build a movie around lingering, soulful shots of the No. 1 train zooming up and down the West Side. There's no there there." Related: For Filmmaker, Nick Dawson talks with director Alfredo De Villa " about his transition into filmmaking, his cinematic homages to William Friedkin and David O Russell, and how Darth Vader changed his life."

• Aaron Hillis on My Name Is Alan and I Paint Pictures: "Tastelessly hyper-stylized, the film tries to reflect the disease that ails its acrylic-smearing subject - schizophrenia - but only ends up exploiting his mental illness with cheesy animation and noisy, erratic segues." But for Matt Zoller Seitz, writing in the NYT, while the story of Alan Streets "is sympathetically told, it's ultimately a springboard for the movie's lucid explanation of how creativity and mental illness interact within the brain."

• Jean Oppenheimer on the "engaging, female-centric melodrama," Antonia.

• Aaron Hillis again, enjoying Darkon, "Andrew Neel and Luke Meyer's clever, lo-fi dorkumentary about fantasy role-players in Baltimore who dress up in makeshift costumes and wage elaborate territorial battles in suburban fields." Adds Jeannette Catsoulis in the New York Times: "Eloquent and occasionally touching, Darkon is haphazardly photographed but unfailingly generous toward subjects who exhibit an astonishing degree of self-awareness. 'It's like watching the TV, but you're the hero. Who doesn't want that?' one enthusiast asks. Who indeed?" But "Darkon is respectful to a fault," argues Peter Smith at Nerve. "Disastrously, the filmmakers have centered the narrative not in the real world, but in the fantasy world the gamers prefer to inhabit."

• "With the stylish simplicity of its namesake font, Helvetica keenly distills the eternal aesthetic battle between the classical and the baroque and explores what happens when a revolution goes mainstream," writes Julia Wallace. "Gary Hustwit - who also directed the mesmerizing Moog, about the analog synthesizer - has a knack for finding a universe within a narrow topic," adds Matt Zoller Seitz in the New York Times.

"Comingsoon.net have posted a memo which they say was leaded via an un-named talent agency: it's a list of productions to be fast-tracked in order to beat the impending actors' strike." So Andrew Pulver looks it over and selects seven projects he finds promising.

Also in the Guardian:

• Xan Brooks considers the pros and cons of Jon Stewart's return as host of the Oscars.

• "The nation's favourite teddy, Paddington Bear, is to hit the big screen," reports Francesca Martin. "Producer David Heyman, best known for the Harry Potter films, has just gone into production with screenwriter Hamish McColl on a film based on Michael Bond's 11 books about the marmalade-loving bear from Peru."

• Antony Sher heard about the murder of actor Brett Goldin, he called his friend, the documentary filmmaker Jon Blair: "He was drawn to the idea of investigating this murder together on camera, but felt we should broaden the canvas. In the bad old days, we'd both actively opposed apartheid, but maybe now was the time to talk about the New South Africa's appalling crime figures. In 2006, for instance, there were 18,500 murders, compared with 750 in England and Wales. Although our film would begin with the murder of two white people, the majority of these victims are black." Their film is True Stories: Murder Most Foul and it screens on More 4 on September 25.

• "Unless it is a very convincing joke, Dan Aykroyd most definitely believes in the existence of UFOs," writes... wait for it... Emine Saner.

• With A Mighty Heart now opening in the UK and Europe, the paper runs a piece by Judea Pearl, Daniel Pearl's father, that ran in the New Republic back in July. A torrent of comments follow.

• "Racist performances in film are hardly new: Hollywood has always trafficked in stereotypes, and cast from its comparatively small gene pool. Yet when we consider these souvenirs of a less enlightened age, perhaps the most startling fact is that the worst offenders were often the biggest names..." Shane Danielson draws up a list of eight.

• "Without getting too culturally nationalistic about it, why is Le Serpent not a British movie?" asks John Patterson. "Why did it take a foreigner to discern a superb film property within an out-of-print novel written three decades ago in another language? I only ask because it happens a lot." Also: "This summer saw a long-overdue Triumph of the Nerds at the American box office." And Patterson argues that Harvey Weinstein has ruined the Grindhouse experience for European audiences. Related: "Quentin Tarantino is one of the most arrogant film directors alive and once upon a time he was equal to the boast," writes James Christopher in the London Times. "But the brat pack ego that buoyed him through the 1990s is wearing thin." Anyway, Sheryl Garratt talks with Tarantino for the Telegraph

Overall, John Carvill is disappointed with Bogie: A Celebration of the Life and Films of Humphrey Bogart, and he's got a lot to say in PopMatters about what goes missing.

"The thoroughness with which The Unknown Soldier expunges the last traces of innocence from the citizens of the Third Reich may inspire some sympathy for those who came after," writes AO Scott. "In this country, after all, we are accustomed to looking back admiringly on the achievements of the Greatest Generation. Germans, in contrast, must grapple with the legacy of their worst." More from Rob Humanick (Slant) and Julia Wallace (Voice). Related online listening: Michael Verhoeven is a guest on the Leonard Lopate Show; and indieWIRE interviews him as well.

Also in the New York Times:

• Ben Sisario reports on the Ghetto Film School, "an unaccredited training program in the South Bronx that operates in the summer and on weekends during the school year. It gives teenagers a rigorous introduction to filmmaking and, despite the humblest of origins, has built up an enviable roster of Hollywood donors and supporters inside city government."

• Whitney Joiner tells the story behind The Dhamma Brothers, a documentary about three dozen prisoners who meditate - or at least did as long as they were allowed to.

• "Are audiences ready for the steady stream of movies and documentaries that bring a faraway war very close?" asks David Carr.

• Freakonomics authors Steven Levitt and Stephen Dubner recall how The China Syndrome became a political juggernaut when, 12 days after it opened, a partial core meltdown at the Three Mile Island nuclear plant in Pennsylvania alarmed the nation. The market "seems to think," they argue, that now's the time to go nuclear again, "but it may all depend on what kind of thrillers Hollywood has in the pipeline."

• Daphne Merkin: "Here is the question lurking behind the recent news of Owen Wilson's suicide bid: In a culture that encourages outing everything from incest to pedophilia, is depression the last stigma, the one remaining subject that dares not gossip its name? Does a disclosure about depression, especially from someone who seems to have it all, violate an unspoken code of silence - or, at the least, make us radically uncomfortable with its suggestion of a blithe public face masking a troubled inner life?"

• "Wild yet gentle, the fantasy film Wool 100% is a playful contraption illustrating the kinship between movies, fairy tales and dreams," writes Matt Zoller Seitz.

• "With Woody Allen still indulging his Anglophilia, the Jewish-neurotic-paired-with-crazy-shiksa vacuum cries out to be filled," writes Jeannette Catsoulis. Enter Ira & Abby, a hard-working comedy of lust, therapy and Manhattan angst that deserves an A for ambition, if not achievement." More from Christopher Campbell (Cinematical), Gary Dretzka (Movie City News), Nick Schager (Slant), Jan Stuart (LAT) and Julia Wallace (Voice).

• "In her eye-opening 2003 documentary, The Gift, Louise Hogarth familiarized viewers with 'bug chasers,' HIV-negative gay men who actively pursue positive status," writes Laura Kern. "In her follow-up, Angels in the Dust, she reveals another, more heart-wrenching facet of the HIV/AIDS pandemic by turning the camera on a group of innocent children in South Africa, many of whom have contracted HIV from infected parents or rapists." More from Ella Taylor (Voice).

• "In December Boys, Daniel Radcliffe takes a holiday from Harry Potter to play another orphan, this time of the Muggle variety," writes Jeannette Catsoulis. "Too bad his destination is a coming-of-age tale so treacly it doesn't just tug your heartstrings, it attempts to glue them to your ribs." More from Robyn Citizen (cinemaattraction), Kevin Crust (LAT), Nathan Rabin (AV Club) and Ella Taylor (Voice).

• "Silk is the latest casualty in a line of films with a David Lean glint in their eye that aspire to elevated popular art but that come across as kitsch," writes Stephen Holden. "In the tradition of movies like Snow Falling on Cedars, the film, directed by François Girard, confuses pretty scenery doused in ponderous music with epic visual poetry. Impenetrable musings intended to evoke ineffable romantic longing leave you scratching your head as you wait, ever more impatiently, for something to happen." More from Paul Constant (Stranger), Kevin Crust (LAT), Nick Schager (Slant), Julia Wallace (Voice) and Christopher Wisniewski (indieWIRE). And indieWIRE interviews Girard.

• "Between [Billy Bob] Thornton's wry performance and Tami Reiker's nuanced wide-screen photography, you half-expect [Mr Woodcock] to deliver more than formulaic laughs," writes Matt Zoller Seitz. Instead, "It's The Great Santini remade as a sitcom." More from John Anderson (LAT), Steven Boone (Star-Ledger), Scott Tobias (AV Club), Scott Weinberg (Cinematical) and Robert Wilonsky (Voice).

• Andy Webster on Dragon Wars: "It is such a breathless, delirious stew, it's impossible not to be entertained, provided - this is crucial - you have a sense of humor." More from Robert Abele in the Los Angeles Times.

• For Matt Zoller Seitz, The Brothers Solomon's "screenwriter, [Will] Forte, and its director, Bob Odenkirk (formerly of HBO's sketch comedy series Mr Show), have fashioned a deranged, sometimes desperate parody of an inspirational losers-make-good comedy. Three gags miss for every one that hits. But the good ones are keepers."

• "Opening like a Mardi Gras edition of Girls Gone Wild and closing with a reverent nod to Friday the 13th, Hatchet, a Bayou-based homage to the slasher giants of yesteryear, is more concerned with touchstones than with terror," writes Jeannette Catsoulis. "The movie may proudly assemble its bodily fluids the old-fashioned way - that is, with care and K-Y jelly - but absent any tension, it's all just so much splatter."

• "James Sanders, an architect, author and filmmaker based in New York City, is taking questions from City Room readers this week."

• "Inside many restaurants along Roosevelt Avenue in Queens, roving vendors descending on diners offering pirated movies are becoming a common sight," reports David Gonzalez.

"Alaa al-Aswany's 2002 novel The Yacoubian Building... is like a running buffet from which the reader can take little nibbles, but it amounts to quite a feast," writes Ryan Gilbey in the New Statesman. "I don't envy the 29-year-old director, Marwan Hamed, or his screenwriter father, Wahid, who have taken on the gargantuan task of bringing it to the screen. But, like the building at the story's center, the film is something to behold despite its imperfections."

Quiet City "superficially resembles Richard Linklater's Before Sunrise and Before Sunset as a portrait of two people walking and talking and, maybe, falling in love," writes the Oregonian's Shawn Levy. "Just as [Dance Party USA] transcended the influence of Gus Van Sant's Elephant, which hovered over its mood and cinematography, so does Quiet City stand as an instance of a young artist of robust gifts making something new of a master's example." Also, an interview with director Aaron Katz.

Related: "Though relocated to Brooklyn, Mr Katz filmed Dance Party in Portland, and aspects of the film have a love-letter quality celebrating the city's visual if suburban diversity," writes DK Holm for the Vancouver Voice. "Dance Party has the script-level slightness of an anecdote but the moral imperative of a Russian novel."

At Film Threat, Graham Rae reviews Llik Your Idols, "the new 70-minute documentary detailing the good and bad and ugly elements of the Cinema of Transgression. This arthouse-cum-grindhouse-cum-madthouse-influenced low budget Super-8 filmmaking movement was a loose coalition of lost, angry, damaged, searching, confrontational extreme artistic personalities who found themselves drawn by their personal neuroses and psychoses to the black hole of the Lower East Side during the late 70s/early 80s, during the period of time after punk had razed that city's artistic pretensions and expectations and the No Wave musical scene was enveloping New York's edge-dweller artists in its nihilistic smothering discomfort blanket."

"The freshing thing about Susan Dynner's new documentary Punk's Not Dead - beyond the fact that it's not the 9,482nd recap of The Early Years (circa 1976-85) - is its unabashed if not uncritical acknowledgment that punk is here to stay," writes Dennis Harvey at SF360. "Even when it goes multiplatinum it's still punk, in musical derivation at least if not in the nebulous realms of politics, ideology and 'attitude.'"

"This article is but a description of a recent viewing of Jean-Marie Straub and Danièle Huillet's Sicila! (1999)." Well, Daniel Kasman's entry is a bit more than that.

In Syndromes and a Century, Clifford Hilo finds "the newest and continued manifestation of Apichatpong [Weerasethakul]'s aesthetic symptoms - a fixed interest in the art of the medical examination, a prose of emotions that approaches Jane Smiley's soft-then-hard literary rhythms, the second-reel changeover that divides the film into two neat sections, cold-structuralist, architect framing that still has remaining warmth for the human figure, but also a profound love for the wild jungle and outdoors (his characters always seem to go lunching al fresco)."

Also in Cahiers du cinéma, Hilo again: "I Don't Want to Sleep Alone is the hope of cinema today; Tsai shows us, without the insane, musical romping and laughter of his previous work, there is still a world that is able to contain the grand gestures of opera and untethered sentiment that point to these emotions and fantasies that are indeed bigger than reality."

"Best known in the film world for his collaborations with director Wayne Wang in 1995 on Smoke and Blue in the Face, The Inner Life of Martin Frost marks novelist and screenwriter Paul Auster's first directorial effort in nearly a decade." And Annaliese Griffin talks with him about it for the Reeler. More on the film from Andrew O'Hehir (Salon), Michael Joshua Rowin (L Magazine), Matt Zoller Seitz (NYT) and Julia Wallace (Voice).

"Directed by Julie Gavras, who as the daughter of famously engaged lefty director Costa-Gavras no doubt knows whereof she speaks, Blame It on Fidel is the thoroughly engaging, clear-eyed and charming story of a little girl grappling with the domestic fallout of tumultuous political times," writes Carina Chocano in the LAT.

Jonathan Rosenbaum in the Chicago Reader on Flying: Confessions of a Free Woman: "Our not being allowed access to certain parts of the filmmaking process - especially the editing, which is obviously a central stage - eventually suggests that what we're really watching is more a construction than a discovery, of a life as well as a film."

"The Cut, scripted by Jeon Sun-wook (Vampire Cop Ricky), and adapted and directed by Son Tae-woong (best known as the co-screenwriter for Bong Joon-ho's Barking Dogs Never Bite), is a fairly ambitious horror film that traverses several sub-genres: medical thriller, slasher film, ghostly horror and even a bit of Cabinet of Dr Caligari-like psychological creep-out," writes Kyu Hyun Kim at Koreanfilm.org. But the film "leaves the viewers in the dust, so busy trying to spin its yarn that wrapping itself up into an inert cocoon by the last reel."

"Though some have drawn parallels to Sofia Coppola's Marie Antoinette, Sakuran never succeeds in bridging the old and the new, or managing to maintain its contemporary twist on an age-old tale," writes Filmbrain. "The promise of the film's opening minutes, full of distinct inventiveness and quixotic energy, soon devolves into a by-the-numbers period piece with all the emotional pull of a televised serial drama." Also: "Lodged somewhere between art-house and exploitation flick, and with an incredible soundtrack by Cat Stevens and Krautrock superstars Can, Deep End is a look at the darker side of swinging London - where porno films feature Wagner scores, middle-aged women use boys as masturbatory objects, and a public bathhouse will sooner get you killed than clean."

"Based loosely on the Sophocles tragedy Oedipus Rex, Toshio Matsumoto's Funeral Parade of Roses not only illuminates the thriving Japanese counterculture, but also strikes aside the blatant formulas and expectations associated with film up to that point," writes Adam Balz at Not Coming to a Theater Near You. "Still circulated among independent and university theatres, it remains a strong work of art, influence, and social consciousness, and has become a modern staple in LGBT circles. But, more than that, it's an astounding testament to the power of film."

Tim Lucas is getting hooked on Dark Shadows again, but it's not the story that's nabbed him.

Norman Jewison's Gaily, Gaily, based on Ben Hecht's autobiography, "has far fewer ups than downs," writes Flickhead. "Still, as a time capsule, it's worth a gander: the Nixon-era Americana, the retreat to 'simpler times,' allusions to 60s political unrest... and Beau Bridges being groomed as a hip leading man."

"What in the world is wrong with Jodie Foster?" asks the New Republic's Christopher Orr.

At european-films.net, Boyd van Hoeij is tracking submissions to the Oscar race from the continent.

So you wanna make movies. When should you start? David Bordwell looks to history for a few answers.

For nthposition, Tom Ruffles reviews Dave Thompson's Black and White and Blue: Adult Cinema from the Victorian Age to the VCR.

At Film Threat, Felix Vasquez lists ten of the best post-apocalyptic movies.

Online browsing tip #1. Idea Photographic: After Modernism. Via wood s lot. Related: Design & Typo on Alexander Rodchenko (translation), via Coudal Partners.

Online browsing tip #2. The 70s at The Art of Memory.

Online browsing tip #3. "Now that the NY Times has discontinued their Times Select subscription program and made much more of their 150+ years of content available for anyone to read and link to, let's take a look at some of the more notable items that the non-subscriber has been missing," writes Jason Kottke.

Online listening tip. A Radio New Zealand interview with Jack Shaheen, author of Reel Bad Arabs.

Online viewing tip #1. "The gritty, realistic Zodiac is easily one of my favorite films of the year so far, and I am stunned to see how much of it was CGI," writes Peter Chattaway.

Online viewing tip #2. "Peet Gelderblom has created a fine new short film for Comedy Central, a montage manifesto for the network that, as a labor of love intended only for internal use at the network, is far more circumspect, measured and thought-provoking than what we usually get from a promo department used to selling South Park and Reno 911! in 30-second burps and farts," writes Dennis Cozzalio.

Online viewing tip #3. At Twitch, Kurt Halfyard points to the trailer for Brad Anderson's Transsiberian, featuring Woody Harrelson, Ben Kingsley, Emily Mortimer, Thomas Kretschmann and Eduardo Noriega. Looks like Russian gangs really do scare us.

Online viewing tips. By now you'll have seen these, but: Wes Anderson's AT&T commercials.

Posted by dwhudson at September 19, 2007 3:54 PM