Some of cinema's most iconic shots of Chicago appear in Ferris Bueller's Day Off, and the film is certainly Matthew Broderick's most iconic role. So, it's hard to watch the actor in the Chicago-set Diminished Capacity and not ask yourself, "is this what's happened to Ferris?" He is now relatively passive, paunchy and pitiful in the role of Cooper, a newspaper editor who has recently suffered a mildly debilitating concussion. And the character could be classified as yet another sad sack, one of three such parts he can be seen playing at present (Then She Found Me opened in April and is still in theaters; Finding Amanda debuted last week).

But is it fair that we most associate Broderick with Ferris, thereby continuing our disappointment in seeing him play one nebbish nobody after another? Couldn't we redirect our memories and accept that Broderick's modern roles are more like grown-up versions of Eugene Jerome, of Neil Simon's plays Brighton Beach Memoirs and Biloxi Blues, who he portrayed on Broadway as well as in the film adaptation of Biloxi? Were Eugene not the fictional incarnation of Simon and had he not therefore become a famous writer (and were he not from an earlier time period), the character surely could have gone on to be the pathetic teacher of Election or Then She Found Me or the absentminded editor of Diminished Capacity.

"If a film fell in the multiplex, and no one was there to see it..."

Limited release: such a simple phrase, and yet two words that all but indicate to a majority of moviegoers that whatever it is they want to see may or may not escape the confines of a NY/LA run before the film in question comes to them by way of Netflix mere months later.

Meanwhile, screens upon screens across the nation are filled by the likes of the same stars and the same stories, with the same special effects and the same happy endings, leaving the smaller films, the different films, the better films to slip through the distribution cracks, as it were.

Among their number falls The Promotion, a film which we've admittedly supported ad nauseum to the oh-so-ironic tune of $365,928 on a grand total of 81 screens. It opened just this past weekend in my market, Orlando, Fla., on a single screen, for a whopping four days, with a grand total of eight showings, before being shuffled off to make room for that other Jason Bateman co-starring comedy-drama hybrid.

It was the first day of July, and the last night for the film. Having enjoyed it twice before and driven by - I don't know - a sense of romantic futility, I turned out for that final showing. Lo and behold, I wasn't alone...

Even the weirder artists of the twentieth century have been attracted to the allure of Hollywood filmmaking, and Salvador Dali was no exception. In the fall of 1941, the surrealist painter hosted a masquerade party at Pebble Beach during one of his regular visits to the town. Called "Surrealism Night in An Enchanted Forest," the fundraising event, intended to assist European refugee artists, brought out a number of stars, including Bob Hope and Ginger Rogers. It was here, the story goes, that Dali became attached to a major studio production called Moontide. The great German emigre Fritz Lang was hired to direct the movie, and asked Dali to create a three-minute nightmare sequence for the film. Unfortunately, after the incident at Pearl Harbor later that year, Twentieth Century Fox deemed the project too bleak. Lang was replaced, and Dali's nightmare sequence went with him.

Although inspired by the movies, Dali didn't always have the easiest time making them. He would get another chance to inject his hallucinatory vision into American cinema with the hypnosis scene in Alfred Hitchcock's Spellbound, but it's his unrealized projects that truly indicate the scope of the painter's ambition. So many ideas, such little time. Dali: Painting and Film, a breathtakingly unique exhibit currently on display at the Museum of Modern Art in New York, surveys Dali's completed cinematic works in addition to tidbits from the ones that never came to fruition. Marvelously structured to show how his paintings were intentionally cinematic, the exhibit contains all the obvious highlights from Dali's movie career alongside lesser-known productions. The importance in film history of his collaborations with Luis Bunuel remain uncontested; two large screens in separate rooms showing Un Chien Andalou (where the opening eye splicing retains its original gross-out impact) and L'Age D'Or attest to that. Fewer visitors, however, might know about Dali's collaboration with the Marx Brothers on a deliriously strange movie that sounded too good to be true.

Well here's something you don't see every day: A big, flashy summertime "tentpole" movie that A) takes chances, B) bucks convention, and C) takes some real risks with its subject material. Obviously the safe approach is for Will Smith to do (yet another) easily-digestible (if somewhat mindless) blockbuster like I, Robot or I Am Legend or Independence Day -- but this time the endlessly profitable Will Smith is working with a rather distinctive director who refuses to cater to formula. That director would be Peter Berg, and this guy has yet to make a bad film.

Unfortunately the production history on Hancock is not a fantastic one. There was a revolving door of directors and script polishers before Columbia finally started production -- but there were still marketing issues, last-minute reshoots, and MPAA miseries to deal with. And yet, despite all that, Hancock arrives like a breath of weirdly fresh air for moviegoers who like a little heart and soul mixed in with their hyper-kinetic action mayhem. Toss some sharp wit and an impressive display of edge into the mix, and I think you may have one of my favorite movies of the summer. (Although one can plainly tell that there was some late cutting done to the flick, all in the name of the almighty PG-13 rating, of course.)

Here's a stat that may or may not blow your mind: According to Box Office Mojo, Sex and the City has grossed $312 million worldwide. Yup. $312,533,654 to be exact -- for a movie based on a hit HBO show that went off the air a few years ago. Since we all know what happens when Hollywood gets a look at those kinds of numbers, it doesn't take a rocket scientist to predict what the future holds: plenty more TV-to-movie adaptations. We're practically guaranteed another Sex and the City flick, and earlier today Monika brought us news that the long-rumored Friends movie might be moving forward.

Honestly, why wouldn't it move forward? You're telling me Matt Leblanc, whose last credit on IMDb is Joey, is holding out for a massive paycheck? Same goes for Lisa Kudrow, Matthew Perry, David Schwimmer, Courteney Cox and Jennifer Aniston, with the latter being the only one getting decent big-screen work (though, truth be told, she's about two movies away from becoming yesterday's news). The others are all showing up in bit parts, directing films that don't go anywhere and/or trying desperately to make the TV thing work again. Fact is, together they're a pot of gold. Apart and, well, we don't really care, do we?

But could a re-emergence on the big screen revive these careers? Could they somehow find a way to take the cutesy sitcom and turn it into a feature film people would actually want to see? Could Friends: The Movie make more money at the box office than Sex and the City? And should we care?

After years of Beavis and Butt-Head, there was Office Space. But after red Swingline staplers and the need for flair, Mike Judge took a number of years off from directing -- until the largely ignored Idiocracy. This time around, however, we don't have to wait as long (as Eugene pointed out in April). Extract is on the way, and now EW's Hollywood Insider has shared more of the plot, and who's in talks to co-star alongside Jason Bateman.

The film will focus on a guy who owns a flower-extract plant -- the industrial sort, not the leafy sort. In typical, professional Judge fashion, the guy is having a bunch of bad luck, which includes "workplace issues and a cheating wife." EW sources say that Kristen Wiig is looking into playing the wife, while Mila Kunis might grab a role as a plant employee. That sounds like a set up for Forgetting Sarah Marshall, revisited -- the man can choose between his crappy partner and the wonderful nice girl right in front of him.

Between the possible murk of an actors' strike and Wiig's SNL schedule, the film is slated to start production in August.

The Battle of Britain is not the sort of cinematic theme that would usually pique my interest, but then again most films that tackle the subject don't try to reimagine it. And most projects don't sound as awesome as Jackboots on Whitehall -- a film I have been dying to see since December 7, 2006.

Imagine the German Luftwaffe flying in, bombing Britain into oblivion, as Hitler giggles with glee and takes over the country ... only to get his ass handed to him by the Scots. The idea sounds flipping brilliant, but there's been barely a word mentioned about this feature since some casting notices in 2007. So, using the power that is Google, I sat down today and went through a ton of pages, looking for some sort of word as to what in the heck is going on.

IMDb says it's in post-production. Rosamund Pike said in 2007 that the voices were all recorded. However, according to britfilms.com, which updated news on the project in April, the film should have began principal photography on June 23. Moviefone says it's set for release in 2010, while many other sites say it will be released this year. Whatever the case, it looks like it's still in the works, but hopefully it won't take another two years to get to us.

It was a good weekend at the box office for both of last week's newbies, marking the first time in history that two films opening on the same weekend pulled in over $50 million each. Here's the top five:

1. Wall-E: $63 million
2. Wanted: $50.9 million
3. Get Smart: $20.2 million
4. Kung Fu Panda: $11.7 million
5. The Incredible Hulk: $9.6 million

Only one major release this week, but we've also got one going into wider release.

Hancock
What's It All About: Will Smith plays Hancock, a hard drinking anti-social superhero, and a PR agent played by Jason Bateman sets out to repair Hancock's public image.
Why It Might Do Well: Will Smith may not always have the Midas touch (I Am Legend left me cold) but he's got quite a few successful blockbusters under his belt, and people are loving the superhero flicks these days. I've liked Bateman's work a lot since Arrested Development, and I'm always glad to see him. Also, Cinematical's own Kim Voynar has given the film her seal of approval.
Why It Might Not Do Well: Unlike most big-budget superhero movies, this one doesn't originate from another media like comic books, so it doesn't come with the core fanbase of an Iron Man or an Incredible Hulk. Also, the 36% fresh rating at Rottentomatoes.com is not encouraging.
Number of Theaters: 3,900
Prediction: $45 million

And going into wider release this week...

The guy is all sorts of recognizable due to his time as James 'Sawyer' Ford on Lost, but do you know that Josh Holloway is also the dude who got his start in Cryin'? Yes, he played the jerky guy who smiled and then stole Alicia Silverstone's bag, and she had to chase him down and give him a good kick. (Watch it above.) He's come a long way since purse stealing! Now The Hollywood Reporter posts that he's joined the cast of Stay Cool.

This is the Polish brothers feature that Hilary Duff joined recently -- where a successful author (Mark Polish) goes home to give a high school commencement address, gets hit on by a high school girl (Duff), and has to face his unrequited teen crush (Winona Ryder). But now Holloway has been added to the mix as a former jock who used to date Ryder's Scarlet Smith. Production should begin soon in California.

For quite a while now, the rumor that Huey Lewis would be performing the theme song for the expectedly hilarious Pineapple Express has been making the rounds, and today... oh, today, it has come to sweet fruition, as the theme song hits first the soundtrack's MySpace profile and then my beating heart.

I can't tell you how much it tickles me to have the sax of the News accompanied by the sound of Huey uttering the word 'chronic'. Then again, I can't tell you how much I'm tickled that we're actually facing a summer movie season that will cap itself off with Huey Lewis doing the theme song for a Judd Apatow-produced, David Gordon Green-directed stoner-buddy action-comedy, followed the week after by Robert Downey Jr. in blackface. Seriously, could you have called that this time last year?

If you don't know why I'm so psyched, I've included the NSFW red-band trailer after the jump, and for those of you who are right there with me, Pineapple Express hits (snicker) on August 8th.

[God bless Spout Blog for bringing this to our attention. I'm tempted to send you guys over a basket full of pineapples just out of principle.]