I guess whether we like it or not, viral campaigns are hot, hip and here to stay. Universal pictures has launched the viral site for Timur Bekmambetov's Wanted, and it all revolves around a shadowy group known as the Fraternity of Weavers. Now for the tricky part: to crack the code on the website you must enter five secret words to earn a peek at the handbook for the fraternity -- plus you get a little bit more info behind Angelina's bad-ass hand tattoo. So if you're the kind of person who likes puzzles, then feel free to figure it out on your own. But, if you're like me and a little impatient, you can click over to Coming Soon and they have the solution -- I won't spoil it here.

Wanted is based on Mark Millar's graphic novel about an everyday schmo (as played by James McAvoy) who turns out to be the heir to a secret society of assassins. Angelina Jolie stars as Fox, the second in command and mentor to McAvoy. Morgan Freeman plays the elder statesman and co-founder of the group, while hip-hop artist Common stars as the weapons expert, The Gunsmith.

The viral site provides plenty of background info on the history of the ancient fraternity, but for the most part it's a bunch of spiritual mumbo-jumbo about fate, destiny, the Cathars, and ancient weaving cults -- oh, and plenty of Wikipedia links. There's also a sign up page if you're interested in becoming a member of the fraternity (hazing optional?). One imagines more viral goodies will most likely show up at some point before Wanted opens in theaters on June 27th.

Perhaps the best thing about Kung Fu Panda is that it's an action comedy that doesn't skimp on the action. Dreamworks Animation's latest effort may stick out a little on the Red Carpet at Cannes -- where it's screening out of competition -- but it's certainly a well-made kid's film that earns high points for how directors John Stevenson and Mark Osborne clearly crafted and contemplated its look and feel with ambition and style. Anyone can make a computer-animated cartoon with fuzzy animals doing kung fu; you have to be at least a little inspired to make a computer-animated cartoon featuring fuzzy animals doing kung fu in widescreen Cinemascope. ...

Kung Fu Panda opens with a rousing, stylish action sequence, as a narrator (Jack Black, in full-on Tenacious D exposition mode) explains how "Legend tells of a legendary kung fu warrior whose kung fu skills were legendary. ..." But then, the heroic panda we've seen unleashing paws of power on the big screen ... wakes up; it was just a dream. Then Po the panda (Black), whose dreams of kung fu glory are the counterpoint to his unsatisfying life, gets ready for his day of helping his father Mr. Ping (James Wong) sell noodles to the people of the Valley of Peace.

For the first time in Cinematical history we'll have two (count 'em TWO) writers on the ground at this year's Cannes Film Festival: James Rocchi and Kim Voynar. Rocchi's been covering Cannes for us for a few years, and this will be Kim's first time. (Shhh ... she's super nervous, but don't tell anyone.) Anyway, this year's Cannes lineup was just announced, and among the larger, more talked-about films we find Steven Soderbergh's two Che biopics, The Argentine and Guerilla, and Clint Eastwood's Changeling, starring Angelina Jolie (in a role that doesn't find her hanging out the side of a red sports car). According to Variety, the Soderbergh move seems to come last minute, as word had it he wasn't going to finish the films in time for the festival.

Also on the agenda are the premiere of the animated Kung Fu Panda, Woody Allen's new hot, threesome flick, Vicky Christina Barcelona and Charlie Kaufman's directorial debut, Synecdoche, New York. A few foreign titles making their way to Cannes include Jia Zhangke's 24 City (only Chinese film at the fest), Walter Salles' Linha de passe, Wim Wenders' The Palermo Shooting and Waltz with Bashir, an animated film about Israel's 1982 invasion of Lebanon. Of course, enjoying its world premiere on May 18 will be Indiana Jones and the Kingdom of the Crystal Skull. I don't think I have to tell you that a) I'm extremely jealous of James and Kim, and b) we'll be bringing all of this from France to your computer monitor in just a couple weeks. So keep it tuned in here, folks.

Full Cannes lineup after the jump.

Is there another woman on the planet who can look as beautiful with semi-automatics as Angelina Jolie? It's just not fair. (Does anyone find it slightly ironic that a woman who is so dedicated to humanitarian aid has such a fondness for spraying bullets on film?)

The new Wanted trailer has debuted online over at MySpace (it's still not on YouTube, so I can't embed it for you), and it's one of those things you shouldn't like. Like Twinkies or Skittles. But then Angelina Jolie defies physics and scoops up poor James McAvoy in a furious red sports car.

You may roll your eyes at the slow-motion "Goodbye" bullet at the end, but ultimately, this is going to be one of those films to crash to on a hot summer night with a few friends -- a decent thrill ride you'll probably feel silly about going to later. (And it certainly has Timur Bekmambetov's stamp all over it.)

There are also a bunch of new pictures, mostly stills from the trailer. There's James McAvoy's washboard abs for the ladies, Angelina looking coy and suggestive for the boys. . .and well, let's be honest, everyone else. My taste favors Scotsmen, and I still can't look away.

And, if you're a diehard fan of the graphic novel, prepare to be disappointed. I'm hearing that it has only the basic premise in common.

Wanted opens on June 27, 2008.

Cinematical is live at the 2008 Independent Spirit Awards! Our own Patrick Walsh will report back throughout the afternoon.

It is officially raining, and the big-time stars are rolling out. Javier Bardem is looking very dapper, I'm pretty sure I just saw indie favorite The Rock (?), and crowd just collectively spazzed out over Brad Pitt and Angelina Jolie. I was just interviewed (insulted) by Jiminy Glick on Good Morning America so watch for that, though I'm not sure how much of it they'll be able to use. The discussion culminated with him dumping a barrel of popcorn on himself. Some quality journalism there! Seriously, I can't quite convey how funny Martin Short has been here today. Favorite line -- "I have lost weight, I'm doing Atkins. Not the diet, his widow."

Raining has given way to pouring, and the red carpet is looking soggy and bare. It's ten minutes to showtime and I'm about to head under the big tent for the show. I'll do my best to update you on the winners as they happen, and if you get the Independent Film Channel you can join in the Rainn Wilson-hosted fun live. My thanks to Netflix for setting up this sweet little blogging suite for me, and as an active subscriber, I don't even have to feel like a shameless whore saying that. Sorry for the rambling nature of these posts, but it's been pretty hectic...

For more photos and coverage, head on over to Moviefone.

Perhaps desperately needing an influx of star power, The Santa Barbara Film Festival, which is going on right now, put together a big celebration of Angelina Jolie's work and persuaded the star to appear the other night. I know nothing about these SBIFF events, but according to the NY Post they seem to be half honorarium, half roast, as the honoree is asked to watch old clips of their bad movies and then acknowledge them. The problem, of course, is that this comes on the heels of Jolie being snubbed for an Oscar nomination for her performance as Marianne Pearl in A Mighty Heart, so the ribbing seems to have been toned down considerably. (I wouldn't go so far as to say Jolie's was a great performance in that film, but considering that the academy tapped Cate Blanchett for a noticeably bad performance in an exceptionally awful film, Elizabeth: The Golden Age, Jolie would have every right to be upset.)

So a planned montage of clips from Jolie's old movies was shelved at the last minute. The actress did speak about the old days, though, calling her earliest movies "cheesy" and saying of Cyborg 2, "The first one was Jean-Claude Van Damme, the second was me at 17." In other words, 'not my fault.' She also had the following to say about Hackers: "As Brad knows, he's in the audience, I really don't know how to turn on a computer." Jolie also seemed to take a halfway-swipe at Mr. and Mrs. Smith, which isn't a bad movie in any sense. "It's one of those that I think Brad and I both tried to get out of," Jolie said. "Obviously I'm grateful I did [the movie] because it changed my life," apparently referring to meeting the afore-mentioned Brad.

John Orloff got his break writing two episodes of the Emmy-winning HBO mini-series Band of Brothers. His latest script is another true-life tale -- Michael Winterbottom's A Mighty Heart, just out on DVD. Heart focuses on Mariane Pearl (Angelina Jolie), a reporter whose husband Daniel, an American journalist, was kidnapped and murdered in Pakistan. The script just earned Orloff an Independent Spirit Award nomination for Best First Screenplay. The awards will be held on February 23rd.

Cinematical: When did you know you wanted to be a writer?

John Orloff: I still don't know whether I want to be a writer! I went to UCLA Film School, and I had a great writing teacher who thought I had a particular skill in that department. So I kept taking that teacher for the whole time I was at UCLA, kept on writing. At the end of it I was 22, it was the late 80s, and people weren't really hiring young writers, so I started to work in advertising. Spent about ten years miserably working in commercials, until I met a woman -- who is now my wife -- who was working in the business as a development exec at HBO. And she was bringing home all these screenplays, and they were horrible! Just awful! And these people had agents, and they were working. So I pitched my wife a non-fiction movie that I had been thinking about writing for ten years, with the incredibly commercial idea of a sixteenth century English melodrama. It was actually about the Shakespeare authorship issue -- who wrote the plays? I wrote the script and had the misfortune of writing it two months before Shakespeare in Love came out. But I sent out this script, trying to get an agent, and did finally get "hip-pocketed" by an agency.

Cinematical: And that script eventually got you your big break with Tom Hanks -- pretty decent guy to start out with, no?

JO: Tom Hanks and Steven Spielberg, yes! The most important thing that happened out of the Shakespeare script was that Tom's company was among the readers. They liked it, and I met with Tom about another project, but every time I sat down with him I would ask if he had hired writers on Band of Brothers. I'm a huge World War II buff, and I think I eventually just wore him down. He finally asked me to write a script, and I wrote one episode. He was very happy with it and asked me to write another. So, that was my first paying gig.

I get very excited about the upturns some actors and actresses' careers take following awards season, especially when those performers end up Oscar winners. I always enjoyed reading the post-Oscar write-ups on "What's Next for ____?", though it's less of a thrill nowadays because I typically already know what is in their pipeline. For example, thanks to Variety, I now know that Amy Ryan will be co-starring in Paul Greengrass' "untitled Iraq war thriller". She joins the movie, along with Greg Kinnear, which already starred Matt Damon (who has worked with Greengrass on two Bourne films) and which reportedly began filming in Spain yesterday. While Kinnear and Damon will both play CIA agents involved in the search for Weapons of Mass Destruction, Ryan has been cast as a New York Times correspondent investigating the WMD investigation.

A front-runner for the Academy Award for Best Supporting Actress (for Gone Baby Gone), Ryan has already had one heck of a year (she also appeared in Before the Devil Knows You're Dead and Dan in Real Life). In fact, I'm sure I'm not the only one to admit I'd never heard of her until 2007. But she may still not be a household name, and that should surely change following her expected win (she's also the best bet for the Golden Globe this Sunday). The supporting actress category is sometimes a bit of a joke, as it was throughout most of the 1990s (starting with Whoopi and ending with Angelina, with a Mira in the middle), but Ryan is hopefully going to be one of the few actresses that shows us how much she deserves the accolades by continuing to take respectable roles. In addition to Greengrass' film, Ryan will be co-starring in Clint Eastwood's The Changeling, which also stars Angelina (whose "What's Next ... " in 1999 included Gone in 60 Seconds and Lara Croft: Tomb Raider). By the way, for those not keeping track, after making The Changeling, Ryan will have worked with four of the ten 1990s supporting actress Oscar winners (Marisa Tomei is in Before the Devil; Juliette Binoche and Dianne Wiest are both in Dan). Perhaps Greengrass can find a part in his new film for Anna Paquin?

For some horrible reason Josh Brolin continues to be left out of the awards season party this year, despite his terrific performances in No Country for Old Men, American Gangster and In the Valley of Elah (he was also in Planet Terror, the Robert Rodriguez half of Grindhouse). All I can say is that I hope he continues to be offered great roles and never has to go back to being in movies like Hollow Man and Into the Blue. Meanwhile, his No Country co-stars Javier Bardem and Tommy Lee Jones have been nominated for Screen Actors Guild awards for their supporting roles. Bardem's presence in the category is not surprising -- he's the front-runner for the supporting Oscar, isn't he? -- but it's great to Jones here, since he's been ignored by the Golden Globes, the Golden Satellites and pretty much everything else.

Another surprise with the SAG nominees is Ryan Gosling as best actor for Lars and the Real Girl, beating possible contenders Johnny Depp, Denzel Washington, Phillip Seymour Hoffman (also missing from the supporting category) and Tom Hanks. Also, there's sweet little old Ruby Dee in the supporting actress race for having the cutest reaction to being given a mansion (and for later putting Denzel in his place) in American Gangster. She goes up against the usual 2007 supporting actress contenders Cate Blanchett, Amy Ryan and Tilda Swinton, as well as somewhat surprising addition Catherine Keener, who helped to make Into the Wild the top receiver of nominations with four -- others include Emile Hirsch, Hal Holbrook and ensemble cast. Other ensemble casts nominated include those of Hairspray (no single acting noms), 3:10 to Yuma (no single acting noms), No Country for Old Men, and American Gangster. Very, very, very surprisingly left out of this category is Juno (Ellen Page is nominated for best actress, however).

This year the SAG Awards are introducing two new categories. They are both for best stunt ensemble, one for film and one for television. The film category features nominees The Bourne Identity, Pirates of the Caribbean: At World's End, I Am Legend, 300 and The Kingdom. The rest of the motion picture nominees and categories can be found after the jump or over on Moviefone.

After a series of impressive smaller roles in projects like HBO's Band of Brothers and The Chronicles of Narnia, Glasgow-born actor James McAvoy first demonstrated his leading-man potential on a broader canvas in The Last King of Scotland -- and while co-star Forrest Whitaker's turn as Idi Amin garnered raves, McAvoy's centered performance earned him quiet but sincere praise. Now, in Atonement, McAvoy's at the heart of one of the year's most buzzed-about films -- and bracing himself for a different kind of attention when the megabudget, big-action comic-book adaptation Wanted hits screens in summer 2008, where he'll be playing opposite Morgan Freeman and Angelina Jolie. McAvoy spoke with a roundtable of journalists in San Francisco (McAvoy on arriving in San Francisco: "It's nice; you don't have that immediate foreboding of work, like you do when you land in L.A. Whenever I land in L.A., I don't feel like I've come to America; I feel like I'm just coming to work. But I come into San Francisco, and I'm like "Hey, man! Alright!") about Atonement, the acting challenges in one of the year's most intricate films, Britain's obsession with class and how Wanted might change his 'working-class' life; Cinematical's questions are indicated.

Cinematical: After seeing Last King of Scotland and Becoming Jane -- and even, to a certain extent, The Chronicles of Narnia -- for a while, you seemed to have this sideline in playing who knew exactly how bad they were; who were conspicuously aware of their own failings. Was it a relief, with Atonement, to jump into something a bit more straight-forward?

James McAvoy: The exact opposite; it wasn't a relief in any way. I find great comfort and I find myself in very comfortable artistic territory when I play people with internal conflict; when I play people who are arseholes, or pricks and kind of know it, or they know they're doing something bad. And in this role (in Atonement), I wasn't able to do any of that. Basically, every character I've ever played, I've based entirely on internal conflict. And I love doing that, because I think it's very human. And I found this character (Robbie) ... he wasn't particularly representative of the human race, because he's so good, and he has so little conflict in him. And I didn't really recognize him as a member of the human race to begin with. And I think that that's fair to say, because he is a slightly idealized human figure; and that's necessary, because the story's a tragedy. And there are so many flawed characters in it, and I think that to make a tragedy work, you have to have bad things happen to good people. And if all the protagonists are so flawed, you've got to have one that is particularly unflawed to make it a tragedy. He becomes flawed; he becomes someone much more suicidal, and I think therefore much more representative of the human race. But for the first half of the film, it wasn't a relief; it was a worry of mine that I wasn't going to be able to portray him in an interesting fashion.

Variety reports that Paramount has secured the life rights to Kathi Lynn Austin for an action flick starring Angelina Jolie. Austin is an intelligence operative who has worked with the UN Security Council and whose career has been spent tracking down some of the world's most dangerous arms dealers and terrorists. Jolie's manager, Geyer Kosinski, will produce the film that "was pitched to Paramount as a story that was similar in spirit to The Bourne Identity". The story centers on a fictional arms dealer who was based on an infamous Russian dealer named Victor Bout. Bout was a former KGB major and earned the catchy nickname, "The Merchant of Death" (Nicolas Cage's character in Lord of War was said to be loosely based on Bout).

Jolie is still shooting the period drama The Changeling with Clint Eastwood for Universal and it has been announced that she will finally get to play the iconic tough girl, Dagny Taggart in the adaptation of Ayn Rand's Atlas Shrugged. According to Variety, Kosinski has been looking long and hard for a property with some serious franchise potential for Jolie. It makes sense, since both Tomb Raider and Mr. and Mrs. Smith failed to ignite long term franchises. Jolie is a natural when it comes to action films, so the exploits of a globe-trotting super-spy just might do the trick. Paramount is already lining up a short list of writers to kick start the film into production as soon as possible. But, like so many other films, this one is going to have to wait until the strike finally comes to an end.

Listen up ladies (and gay men everywhere) -- Brad Pitt wants you to know that he will not be performing any more nude scenes for the remainder of his career. Get that? His reason: "I don't want to be embarrassed when my kids get old enough to see my films. I can't see any more nude scenes [in my career]." Should we go the whole moment of silence route? Is it worth it? During his interview with the BBC (via People), Pitt's eyes were clearly on the future. "I figure I've got very few films left. Who knows how many I'll get to do now, so I want something I'm interested in. Otherwise, I don't want to bother. I think it's a younger person's game." Is it just me, or does the guy sound like an over-the-hill actor approaching his 90th birthday. Dude! Lumet is 83-years-old and he's opening up his films with Marisa Tomei doing it doggy-style! Get a grip Pitt!

Oh, but we're not done. When asked whether the gang would reunite for another Ocean's flick, Pitt replied: "There's no more. I think we need to put away childish things." Childish things? Is this the same Brad Pitt we all grew to love and adore? The Ocean's films were simple, funny and enjoyable -- is Pitt trying to say that comedy is childish? Fortunately, his old lady Angelina Jolie isn't done rolling around with younger men, while playing with big toys. Her next film, Wanted, finds the gal blowing up all kinds of nonsense. Oh, and she also voices a character in the animated (and childish) flick Kung Fu Panda. Note to Pitt: For the sake of your children, loosen the hell up.

I was going to headline this post with something about 'being there in spirit,' but I decided that's a lame way to start things off. Obviously, I'm being lame anyway by pointing out that I wasn't going to begin that way, while in effect beginning that way. So, why don't we just get to the news about the Independent Spirit Award nominations, shall we?

Todd Hayne's I'm Not There received four nominations, including one each for Cate Blanchett and Marcus Carl Franklin, who are up for supporting actress and supporting actor, respectively, for their semi-portrayals of Bob Dylan. The film was also recognized in the Best Feature category, in which it's competing against Juno, The Diving Bell and the Butterfly, Paranoid Park and A Mighty Heart, and Haynes was nominated for Best Director, going up against Jason Reitman (Juno), Julian Schnabel (The Diving Bell and the Butterfly), Gus Van Sant (Paranoid Park) and Tamara Jenkins (The Savages) -- meaning A Mighty Heart's Michael Winterbottom was shut out despite his film's receiving the Best Feature nomination. I'm Not There is already the winner of one Independent Spirit Award, the newly conceived, and appropriately titled Robert Altman Award, which honors the film's director, casting director and ensemble cast. Because of that win, I'm Not There has been labeled the leader of the nominated films, although Juno, The Diving Bell and the Butterfly and The Savages all received the same amount of actual nominations as Haynes' film.

Since I haven't seen any of the major nominees (yet), I will take this opportunity to celebrate a few films, which I have seen, that have been deservedly recognized in other categories. First, I'm excited to see that Adrienne Shelly is up for Best Screenplay for Waitress. I doubt she'll win, unless enough voters want to further highlight her posthumous success, but I'm happy to see her included. I'm delighted to see Jennifer Jason Leigh nominated for Margot at the Wedding, considering Nicole Kidman, who wasn't nominated, has been receiving most of that film's accolades. And finally, I am ecstatic to see that Vanaja, which I loved, has been given two nominations, one for Best First Feature and one for Best Cinematography. Overall, we should all be glad that this year's crop of nominees includes few huge stars, Angelina Jolie being the one major exception, in the acting categories. The 2008 Independent Spirit Awards will be presented on February 23.

With Beowulf, the latest motion-capture film from director Robert Zemeckis, one of mankind's oldest tales is hurled up onto the movie screen using the cutting edge of new technology. As in The Polar Express, Zemeckis's first foray into motion-capture animated moviemaking, the actors are first shot on a soundstage, wearing motion-indicating elements that allow computers to turn their movements and facial expressions into sets of data; then, that data is animated by computers and artists, so that real motion and facial expressions can be re-cast in fantastic settings and melded with wild imaginings. As if that weren't enough, the resulting movie in this case has also been enhanced so the theatrical experience is 3-D; swords, dragons and flame leap from the screen, hovering right before your very eyes. It all sounds wonderful.

But, as so often happens in life, the execution falls somewhat short of the expectation. I know it seems like a betrayal of the critic's job -- to look deeper, to see beyond the obvious -- to begin with complaints about the animation in the film, but it would be even more of a betrayal of the critic's job to not point out the most obvious and glaring fact about Zemeckis's technique. Namely, that it looks horrible. A scientist working in the burgeoning field of the human perception of virtual simulacra would talk Beowulf's animation in the context of the "uncanny valley," the phenomena where, when confronted with a robot or virtual avatar that has a high degree of match to human movement and appearance, the human mind flip-flops and instead obsesses about the smaller elements of mis-match, jarred by the mistakes in the image instead of thrilled by the accuracies. (Confronted with a 98% accurate simulacra, for example, most people instead fixate on the 2% difference.) But I'm not a scientist working in the burgeoning field of the human perception of virtual simulacra; as a layman, I can only offer that in Beowulf (as in The Polar Express), Zemeckis seems to have created a world peopled by drowning victims brought back to life after a three-week soak: Pale, puffy, slow-moving revenants with no light in their eyes.