If you squint your eyes just right and look at a photo of the late comedian Bill Hicks, he kind of resembles a young Russell Crowe (or vice versa). So, it would have been really cool if the Australian actor had played Hicks around ten years ago, when he was still in his 30s. But if we've learned anything from Kevin Spacey and Mike Myers (respectively, star of the Bobby Darin biopic Beyond the Sea and star of an upcoming Keith Moon biopic titled See Me Feel Me), you're never too old to play an icon who died young, and therefore we must accept the fact that at close to 50 years old, Crowe is likely to portray Hicks, who died from cancer at age 32. Fortunately for Crowe, he's good enough that it shouldn't be too hard to believe such a portrayal.

The Oscar-winning actor is quoted in The Sydney Morning Herald saying he's involved with a Hicks bio, "which is going from treatment to draft stage with Kiwi writer Mark Staufer." Never mind that the quote doesn't sound like it was actually spoken by anyone, let alone Crowe, the article is mostly about how the actor is spending time with his family now that Ridley Scott's Nottingham has been postponed. Crowe also references other projects, including an unnamed documentary and the surfing gang movie My Brother's Keeper, based on the documentary Bra Boys, which Crowe narrated. Stuart Beattie, who co-wrote the doc, is currently working on a second draft of its adaptation.

It's a slow week, packed mainly with television box sets, but there are a few little-known films you might want to check out.

Please Vote for Me
This was a film that I was dying to see at TIFF last year, but scheduling conflicts kept me from it. Luckily, the highly praised Please Vote for Me is now hitting DVD shelves.

Imagine a group of third-grade students putting Tracy Flick to shame as they hold a democratic election for school monitor. In my day (man, that phrase makes me feel old...), school elections boiled down to some crappy posters and speeches, all resulting in a popularity contest. These Chinese students, however, have taken a cue from the political bigwigs. We're talking political consultants, polling, and exploitation -- basically a real election full of tiny tots.

Unfortunately, the only extra on this release is a theatrical trailer, but considering the reviews and how purely awesome this film sounds, I bet it's still worth it.

Check Out Ryan Stewart's Review | Buy the DVD

The French are at it again! After last month's unexpected breakout success of French thriller Tell No One, surely it's no surprise that French thriller A Girl Cut in Two opened on top, grossing $9,750 per screens at the two theaters in New York where it opened, according to Box Office Mojo. Claude Chabrol's latest (and perhaps last) has delighted critics, including our own Jeffrey M. Anderson ("superbly made ... highly enjoyable").

Amidst a hailstorm of reviews, interviews, and offers of threesomes, Woody Allen's Vicky Christina Barcelona debuted to $5,361 per-screen at 692 engagements, while would-be inspirational drama Henry Poole is Here failed to inspire much box office, drawing just $1,518 per screen at 527 theaters. People were evidently more interested in sin than salvation this weekend.

Two films in their second week of release continued to draw well, with literary adaptation Elegy scoring $9,000 per screen at six locations and music doc Patti Smith: Dream of Life drawing $7,000 at its sole Manhattan engagement. Meanwhile, the quiet thriller Frozen River saw an uptick in business as it expanded to 15 theaters in its third week of release, earning $4,086 per screen.

American Teen withered on the vine in its fourth week, its per-screen average shrinking to $980 as it further expanded into 105 theaters, with a cumulative total of $656,000. Brideshead Revisited slowed to $1,489 per screen during its expansion into 501 theaters, though its total has passed $4.6 million.

A few bright spots aside, the August calendar of wide releases is generally pretty grim. (Do not speak to me of Clone Wars.) Luckily, there are always a few worthwhile flicks playing at the art houses, and the Indie Spotlight is here to tell you about them. We have the lowdown on what's opening "in select cities" this weekend, and if your city wasn't selected, at least you can file a mental note and keep an eye out for the film later.

Alphabetically, this week's new indie releases are: Anita O'Day: The Life of a Jazz Singer, Bachna Ae Haseeno, A Girl Cut in Two, Henry Poole Is Here, and Jack Brooks: Monster Slayer. Note that all of those titles fit in the first half of the alphabet, and three of the five contain people's full names. Fascinating! My OCD is fascinating! Here's the scoop on each of them.

Henry Poole Is Here
What it is: A gentle drama (with comedic elements) about a forlorn man (Luke Wilson) whose house develops a water stain that some people think is a sign from Jesus.
What they're saying: It's always noteworthy when a movie takes a pro-religion, pro-faith-in-God point of view -- and even rarer that such a film debuts at Sundance -- but this one doesn't seem to have done it very well. The critics are split down the middle at Rotten Tomatoes, while Cinematical's Jeffrey M. Anderson calls it "lackadaisical" and "too uninspired to be inspirational." (I've seen it, and I say amen to that.)
Where it's playing: Pretty much everywhere -- it's opening on 500 screens. So keep the faith, indie filmmakers! It could happen to you!
Official site: OMG you guys, it has a MySpace page!

When the 1932 Olympics hit LA, it began a long history of synergy between the games and the movie business. That synergy led to Zhang Yimou, China's answer to William Wyler, who gave the recent opening ceremony all due pageantry. Over the years, the Olympics contributed to the movies, foaling movie stars by the ton. The games were a casting call whenever one needed someone as chunky as a wrestler or as slender as a swimmer, or Tarzan, who I guess is a combo of swimmer and wrestler. My favorite will always be Harold "Oddjob" Sakata, silver medalist in the light-heavyweight weight-lifting competition at the 1948 Olympiad. Defamer.com has the more tragic roster of Olympians who pursued cinematic careers like those of Mitch Gaylord and Bruce Jenner. The games have foaled classic documentaries, too, the most well known example is Leni Riefenstahl's 1938 Olympia. Yet there have been these lesser known pictures about this world-wide fest:

To be eligible for the Academy Awards, a documentary feature must play theatrically, at least two showings a day, for at least a week in both Los Angeles County and the borough of Manhattan. (For documentary shorts, it only has to play in one location or the other.) And they have to do it by the end of August to be eligible for next year's Oscars, too -- which means time's a-wastin'!

That's where the International Documentary Association's DocuWeek comes in, screening more than a dozen worthy features and shorts in L.A. and New York so they'll be eligible for Oscar consideration (and so audiences can enjoy them, too, of course). Some of the films didn't get distribution deals when they played at film festivals, so they had no chance of earning Oscar eligibility without something like this.

New York's DocuWeek is happening now, running all day every day through Thursday at Village East Cinema and IFC Center. L.A.'s DocuWeek will be Aug. 22-28 at the ArcLight in Hollywood and Sherman Oaks. The films are more or less the same in both cities (four features and four shorts play in L.A. but not New York), and there are some real gems here.

Dear Zachary: A Letter to a Son About His Father (pictured) has already emotionally devastated about half the Cinematical staff (including myself, Will Goss, Monika Bartyzel, and Erik Davis), and you should take advantage of any opportunity you have to see it. An Unlikely Weapon tells the story of the photographer who snapped that famous shot of a Saigon policeman shooting a Viet Cong guerrilla in the head, and the aftermath of the photo. Glass is about love-him-or-hate-him film composer Philip Glass. War Child profiles a Sudanese refugee who has become an international rap star.

The list goes on. Check out the links for the full programs -- and if you're in New York or L.A., go see some docs!

He's already made a documentary about the quest to meet his father, and now Adrian Grenier is heading for doc land again for what sounds like a pretty funky endeavor.

The Hollywood Reporter posts that Grenier has nabbed a number of big names that include Alec Baldwin, Whoopi Goldberg, Eva Longoria, Paris Hilton, Rosie O'Donnell, Martin Landau, Noam Chomsky, and Lewis Black for his new documentary titled Teenage Paparazzi. While this sounds like it could be centered on the phenomenon of Lindsays and Britneys, the film will focus on Grenier's "relationship with a 14-year-old paparazzo who took his photo," while also discussing the culture of fame.

But here is where things take an interesting turn -- the film "will interweave the relationship portrait with philosophical interviews in the style of Ricard LInklater's Waking Life." If that means just a bunch of discussions, cool. If that means that those discussions will be rotoscoped, that would be awesome. RIght now, the film is getting shopped to distributors, but hopefully we'll find out more soon.

Was it good acting, literary source material, or the prospect of a naked beauty that lured people to this weekend's top box office draw? With a $17,000 per-screen average, Isabel Coixet's drama Elegy easily led all comers, according to estimates compiled by Box Office Mojo. Despite Christopher Campbell's negative review, the combination of Ben Kingsley, Penélope Cruz, and a Philip Roth novel evidently proved to be irresistible. We'll see what happens when the film expands to 25 markets in two weeks.

Another film that resonated well in New York, Steven Sebring's doc Patti Smith: Dream of Life, took home $8,080 from its sole Gotham engagement, while wine lovers pushed period comedy / drama Bottle Shock to a per-screen average of $6,145 at 48 locations. The presence of Toby Keith did not scare up very many beer drinkers to come see his comedy / adventure Beer for My Horses, which opened at 91 locales to the tune of $2,483 per screen.

Among the holdovers, immigration drama Frozen River ($8,071 per screen, 7 theaters, 2nd week of release) and adult thriller Transsiberian ($5,192 per screen, 14 theaters, 4th week) did well.

Three other films expanded notably, with predictably mixed results. Wildly acclaimed doc Man on Wire stretched beyond Manhattan into 59 theaters and earned a healthy $4,576 per screen average. In its third week of release, the slick doc American Teen pushed into 76 theaters but could muster only $1,802 at each location. Its expansion will still continue into the Top 60 markets this Friday, per Variety. Period romantic drama Brideshead Revisited unwound into 349 theaters and made $3,034 per screen, giving it a total of $3.3 million in three weeks.

What with the Olympics and the Batman and the pineapple express and the pants, you might be a little overloaded with things to watch this weekend. On the other hand, maybe you've seen all that and want something different. In that case, hooray for the Indie Spotlight! It's our weekly roundup of what's opening beyond the multiplexes, designed so movie fans can keep an eye out for those less-publicized titles.

There are eight indie films for you to examine this week: Beautiful Losers, Beer for My Horses, Bottle Shock, Elegy, Hell Ride, Patti Smith: Dream of Life, Red, and What We Do Is Secret. Here's the skinny on each of them.

Bottle Shock
What it is: A fictionalized account -- very heavily fictionalized, it would seem -- about the plucky California winery that managed to beat French wines in a blind taste test in 1976.
What they're saying: The reviews at Rotten Tomatoes are almost evenly split down the middle. My own take: It's the Two Buck Chuck of wine movies.
Where it's playing: Various places throughout Northern and Southern California, Seattle, Dallas, Houston, Atlanta, Detroit, Washington D.C., Philadelphia, New York City, and Boston.
Official site: Take a sip.

Hell Ride
What it is: Executive-produced by Quentin Tarantino, it's Larry Bishop's homage to the sleazy biker movies of the early 1970s.
What they're saying: They're saying they hate it. Ten of the 12 reviews at Rotten Tomatoes are negative, and that includes the two from Cinematical, by James Rocchi and yours truly.
Where it's playing: Quite a few cities, actually; check out the map here.
Official site: Hop on, easy rider.

Beautiful Losers film trailer from beautifullosersfilm on Vimeo.

The documentary Beautiful Losers has been building buzz ever since it premiered at this year's SXSW Film Festival. It nabbed the Documentary Jury Award at Cinevegas earlier this summer and we now have a trailer (above, as well as news on a unique distribution partnership with Nike Sportswear. Oh yes, you heard that right -- Nike has partnered with Sidetrack Films and will help release the film in five markets, while also providing prints and advertising support (according to this indieWIRE story).

Directed by Aaron Rose and Joshua Leonard, Beautiful Losers features such celebrated artists as Harmony Korine, Mike Mills, Todd James, Ed Templeton, Tobin Yelland, Geoff McFetridge and more, and, through their own unique voices, we share with them memories of how each discovered their art and subsequently created an entire movement in the early '90s. From the synopsis on the film's official website: "Beautiful Losers focuses on the telling of personal stories. It speaks to themes of what happens when the outside becomes "in" as it explores the creative ethos connecting these artists and today's youth."

Beautiful Losers opens at New York's IFC Center this Friday before expanding to other cities. Check it out.