Gerard Butler may have once sported the greatest eight-pack in the history of mankind, but his punishment for it (besides all the puking and crying I assume happened in the shaping of it) will be to answer questions about a 300 spin-off until the end of his career.

While at the Toronto Film Festival, where many of my lucky colleagues are, Butler was asked again about the franchise potential of 299 dead Spartans by Superhero Hype. "I've heard some backroom chatter, but nothing more, so I don't know if it would be a sequel or a prequel. I don't want say anymore than that, because I really don't know. I haven't read anything. I can't see it myself -- sequel for me absolutely not, but I just mean the idea generally, I'm really not sure which way they would go with that."

He was asked this same question at RocknRolla's ComicCon junket, and his answer then suggested he'd actually been approached with a more solid idea. "No. They mentioned it, and we'll leave it at that. It's a very interesting idea, I have to say."

By "interesting" idea, I keep imagining that the story involves King Leonidas being resurrected by a necromancer to fight an unspeakable evil. (That's actually going to be written into a spec, I just know it.) But honestly, it really must suck to be Butler sometimes. He's got his own production shingle, he's going to be directed by Frank Darabont any day now, and everyone just wants to know when Leonidas is going to be resurrected by a necromancer.

Why doesn't anyone direct the question to Frank Miller? He's supposed to be the one writing it.

(Thanks to MoviesOnline for their transcript of the RocknRolla junket -- I still curse my tape recorder.)

One man to not truly break through the 1980s stigma and revamp his career is Eric Stoltz. James Spader did a heck of a job with it, now being smarmy fun on Boston Legal, as did the likes of Jon Cryer, Kiefer Sutherland, Charlie Sheen, and more. But then again, even Stoltz's '80s classics, Mask and Some Kind of Wonderful, were drowned by the likes of Molly Ringwald and her swarm of teen romances, so it's not like he ever had a bit spotlight.

Stoltz remains a bit on the outside, but still working as hard as ever. He's got a bit of a role in Milk, and now Variety reports that he's joining a wartime indie drama called Fort McCoy. Along with the likes of Brendan Fehr, Camryn Manheim, Lyndsy Fonseca, Seymour Cassel, and Kate Connor, Stoltz is nestled in Wisconsin shooting the true story, based on a script from Connor.

McCoy centers on "a barber who moves with his family during WWII to a POW camp in Wisconsin, where the children are the sole youngsters on the base -- save for a German teenager who forges an alliance that crosses language barriers with the barber's little girl." I imagine we can see how this plays out sometime during next year's festival season, with hopefully a release after that.

Bastards, bastards, bastards! The best part about Quentin Tarantino appropriating the title for his upcoming movie from Enzo Castellari's high-energy original is that I get to satisfy my inner 11-year-old and tell you all about the latest Inglorious Bastards withour fear of recrimination from parental figures. Diane Kruger is the highest-profile new bastard, according to Variety, joined by Christoph Waltz and writer / actor / comedian Paul Rust.

Kruger, the hellenic beauty who first made a splash on these shores opposite Orlando Bloom in Troy -- which also starred soon to be chief bastard Brad Pitt as a bit of a heel -- will play Bridget Von Hammersmark (not "Hammer Snark," smart guy), a German actress. Kruger is fine casting since, of course, she is a German actress, and already has experience playing WWII theatrics with the flick Joyeaux Noël (Merry Christmas), but I'm sorry that Nastassja Kinski will not be playing the role. She's the kind of 40-something actor that could use a juicy role to remind people of who she is.

Waltz is an unknown quantity to US eyes, though he's done plenty of TV work in Germany. He snared the role of Col Hans Landa, the main Nazi antagonist, the part that Leonard DiCaprio was "in talks" to discuss. If nothing else, Waltz shouldn't have a problem with the accent. Paul Rust has written for Adult Swim's Moral Orel and MTV's Human Giant and appeared in Semi-Pro. Let me go out on a limb and guess that he's been cast -- as the comic relief? I'm sure somebody out there in Commenter Land has read the script and can guess for the rest of us.

Director Ole Christian Madsen began his career as an adherent to Dogme 95, the famous minimalist filmmaking movement began by fellow Danes Lars von Trier and Thomas Vinterberg. I haven't seen Madsen's previous two non-Dogme films, Nordkraft and Prague, but the remarkable, ultra-stylized Flame & Citron is about as far from the Dogme aesthetic as you can get and still have a movie. Perhaps not coincidentally, it's also one of the most exciting films I've ever seen at Telluride: bold, brave and one of a kind.

Flame & Citron tells the story of two heroes of the Danish resistance to the Nazi occupation, but it is far from your typical World War II period piece. Instead, it plays like some unholy, brilliant marriage between spy noir and comic book movie. Filled to the brim with assassination plots, double-crosses, larger-than-life villains, and big, dramatic gestures, this is not for viewers who like their movies timid and sedate. And under that grand façade, the film grapples with tough moral questions regarding war, occupation, survival, and ideology.

"Flame" and "Citron" are the code names for two Danish assassins who brazenly go after high-profile Danish turncoats and, increasingly, the occupying Germans themselves. ("Do they know what I look like?" asks Flame when he learns of a hefty bounty on his head. The response: "They know you're a redhead.") For them, the necessity of their work is an article of faith: the only moral response to occupation is to kill off the occupiers – and those who assist them – one by one. They take orders from an ornery police solicitor who claims to be in communication with the British. He hands them a name and a photograph, and off they go.

All the movie studios are just hellbent on messing with my fall season. Australia is the latest movie to get the old switch-a-roo, as Variety reports that Fox is moving its release date from November 14 down to November 26. I know, it's only a matter of weeks, but it's just the principle of the thing. And it's now pitted against The Road, forcing me to chose which one to see opening day. I don't need that kind of stress, particularly on Thanksgiving which isn't exactly the most relaxing of holidays.

The delay is apparently the result of director Baz Luhrmann needing some extra time to polish the film. He brought everyone back for some pick-up shots, which explains the paparazzi shots I've seen of Hugh Jackman riding around Oz in full drover gear. I thought he just did that sort of thing all the time.

The fact that Australia's delay means it now neatly dodges the release of Quantum of Solace is, I'm sure, mere coincidence. I suspect we'll see more November rearranging -- Variety is reporting that The Time Traveler's Wife is also coming out on the 26th, though IMDB is still showing a Christmas release. If Variety is right (and why wouldn't it be?), I wouldn't be surprised if it ran to the 14th to steer clear of competing with another romance. Plus, I just don't think America could handle Viggo Mortensen, Hugh Jackman, and Eric Bana all having a movie out on the same day -- not when us girls are supposed to be home making pumpkin pies and turkey.

Considering the lengths to which the Tropic Thunder gang went to sell all of their Hollywood fakery, it comes as little surprise that the mock making-of Rain of Madness does exist beyond a mere trailer (embedded above, and probably not kid-friendly) and website. However, while I'm sure it'll be included on the eventual DVD, who's really going to wait that long when it's currently available as a free iTunes exclusive?

That's right: for thirty minutes and zero dollars (yep), one can follow filmmaker Jan Jürgen (co-writer Justin Theroux, acting as if making Werner Herzog's Werner Herzog were making Hearts of Darkness) as he chronicles the expensive chaos that went behind making the movie within the movie. Star/director/co-writer/probable caterer Ben Stiller explained in a recent press release: "We wanted to do a fake documentary about the making of the movie within the movie which is called "Tropic Thunder" -- not the actual movie "Tropic Thunder". The fake documentary focuses on the real movie's fake director, and what happens to the fake cast before they go into the real jungle. It's pretty straightforward."

Well, I know who I am. I'm the dude playing the dude currently downloading this S.O.B. Any of you who follow suit, share your thoughts below.

For those concerned commenters, I'm well aware that Werner Herzog did not, in fact, direct Hearts of Darkness. However, Mr. Theroux is behaving as if he were Mr. Herzog and, as such, proceeded to make a film not unlike the doc actually made by Fax Bahr and George Hickenlooper.

What I didn't know was how to directly link to any items made available through the iTunes store. I still don't, but I do appreciate the considerate ones below who were both helpful and tactful in passing the direct iTunes link on - namely, Niraj and not the exceedingly impatient Marcos.

Spike Lee and Disney might sound like a pretty odd combination, but I don't really see it that way. (Lest we forget that the excellent 25th Hour was a Disney production.) Love the guy or not, Spike Lee has turned into quite the eclectic filmmaker over the last few decades -- and so when I heard that the guy was helming a $50 million WWII drama for Disney, I was intrigued but not surprised. Based on the book by James McBride -- and adapted for the screen by same -- Miracle at St. Anna tells the tale of four black soldiers who find themselves stuck behind enemy lines in Italy.

Opening September 26, St. Anna stars Derek Luke, Michael Ealy, Laz Alonso, and Omar Benson Miller. Also on board are John Turturro, D.B. Sweeney, Kerry Washington, John Leguizamo, and Joseph Gordon-Levitt. Riding high after his last feature film (the solid and profitable Inside Man), Mr. Lee looks to be moving into "Oscar-friendly" territory again with St. Anna -- and I know I'm not the only movie fan who's curious to Lee's first big war movie.

Sometimes cinemaniacs get rewarded for stepping outside the theater. Scott Weinberg, his tongue possibly in cheek, thinks a viral 4-minute internet video is the best movie of the year. I am convinced that the year's best fiction-on-film (so far -- though I have trouble imagining anything topping it) is currently airing on HBO. That would be Generation Kill, the seven-part, eight-hour Iraq War miniseries from David Simon and Ed Burns (The Wire). I know, I know: this is Cinematical, not TV Squad. But Generation Kill is something no movie lover should ignore.

Fans of The Wire already know of Simon and Burns's uncanny, unparalleled ability to weave together hyper-realism, trenchant commentary and riveting drama, but even they may be stunned, as I was, by what this smaller-scale project has to offer. It is, quite simply, the deepest and most sympathetic portrayal of the military -- any military -- I have ever seen. It may also be the first "Hollywood" take on the Iraq War that is genuinely thoughtful and de-politicized. Rather than offering a polemic, the series (adapted from a book by Evan Wright, a reporter who rode with the 1st Recon Marine Unit) just observes -- and, by all accounts, gets close to the truth.