The word just came down: Dr. Horrible's Sing Along Blog that wacky web musical penned by Joss Whedon and reviewed on these fine web pages, will be carried by Hulu for your viewing pleasure. That means it's free! It's only a four month offer. Joss Whedon talks pretty about the arrangement at the Hulu site.

During one of the four Q&A sessions at last night's Spaced Numb-a-thon at the Alamo Ritz, one fan asked Spaced co-creator and star Simon Pegg how it felt to have his very own action figure. Without missing a beat, he shot back, "pretty fucking cool" – and I think it's safe to say that the sold-out audience felt pretty much the same about the eight-hour-long event. Fresh off a Comic-Con appearance (although "fresh" might not be the right word to use for the bleary-eyed star), Pegg and director Edgar Wright stayed for the entire marathon and helpfully translated some of the Britishisms. Case in point, not only did the pair explain bogling – "booty dance, like grinding" – they demonstrated it, too. (Pegg also re-enacted his sweet breakdance moves from the show, and Wright commanded the stage with a rock-star split.)

"I really had no desire to do a horror film," Monte Hellman says re: Silent Night, Deadly Night III: Better Watch Out!, his one and only and very faux-serious contribution to the American slasher genre. Which makes sense, even if the movie doesn't, always. "It was a film that I kind of backed into. I didn't want to do it, I turned the script down, but one of my best friends [Arthur Gorson] was producing it as his first movie, and he finally wore me down. We threw the script out and wrote another one in a week, and then I brought in some friends and added a lot of jokes and I just did it as a lark, you know? "It was just kind of a way to poke fun -- or pay homage -- to the genre. That whole scene with the tape recorder was, in my mind, Touch of Evil." Suffice to say, it's not Two-Lane Blacktop, but so what? Wednesday night's Alamo Ritz triple-bill scored a perfect trifecta on the Blown-Mind Scale: cowboys, cars and crazed killers? It's the American way.

The Austin Film Festival just announced this year's Distinguished Screenwriter Award will go to Sam Shepard, the Pulitzer Prize-winning giant of American theater and Oscar-nominated actor (for 1983's The Right Stuff).
(Yes, yes, that's all very impressive – but have you seen 1987's Baby Boom? Oh my, how my 9-year-old self swooned for the kindly country vet...)

A good chunk of Shepard's screenwriting work consists of adaptations of his own plays, but he also penned such originals as Paris, Texas and Don't Come Knocking (both for director Wim Wenders), Dylan art film Renaldo and Clara, and Zabriskie Point for Michelangelo Antonioni.

The 2008 Austin Film Festival runs Oct. 16-23. For more info, visit www.austinfilmfestival.com.

If you’re a Joss Whedon fan (Firefly, Angel, Buffy the Vampire Slayer and countless comic books), you’ve come to appreciate the stable of actors he’s worked with over the years. You recognize them and can’t wait to see what he’ll have them doing next. Such is the case with his fun little jaunt known as Dr. Horrible’s Sing-Along Blog.

Nathan Fillion (Firefly) and Felicia Day (who played small, but memorable roles in several of Whedon’s series) are two of the featured players in this three-part tragicomedy. The surprise in the mix is Neil Patrick Harris, who stars as the titular Dr. Horrible, a bumbling, D-grade villain with ambitions to break into the big leagues. He’s infatuated with gadgets and believes if he can get his freeze ray gun working, that will be his ticket to A-list status. He’s trying, he’s really trying, viewers learn from reports on his sad little video blog postings. It’s just that he has so many distractions: Penny (Day), the comely woman he sees weekly at the neighborhood laundrymat but can’t make himself talk to; his own ineptness; and worst of all, his foil, the cocky Captain Hammer (Fillion), who decides he has a thing for Penny as well.

Filmmaker Magazine just announced its annual 25 New Faces of Independent Cinema, and while there's a whole host of SXSW 08 alum on the list (including Benh Zeitlin, Barry Jenkins, Joshua Safdie, and Tom Quinn), it's the inclusion of a pair of fraternal filmmakers that's special cause for cheer: Austin's the Zellner Brothers. Their feature film Goliath went over big at SXSW and got a lot of buzz in the blogosphere, but fact is, they've been around a long time – something writer Scott Macaulay points out in the profile's first graf:

"With this inclusion on the 25, Filmmaker is officially adding a new subcategory to its yearly survey of breaking talent: the 'filmmakers who should have been on the list in the five previous years but inexplicably weren‘t.'”

The piece continues:

"Goliath... feels like something new while retaining the duo‘s boho absurdism. The tale of an emotionally distraught office worker recovering from a divorce and searching for his lost cat, Goliath is funny, unexpectedly violent and emotionally devastating."

Goliath is available on demand from IFC Festival Direct.

It's official. Roger Ebert, the longtime film critic and co-host of the syndicated series, At the Movies, has decided to leave the show after 23 years. Ebert made the announcement on his website yesterday.

Ebert started the series with Gene Siskel and hobbled along solo for a while following Siskel's death in 1999. Others auditioned for the vacant chair left by Siskel – including local Internet film geek Harry Knowles of Ain't It Cool News. The search ended with the decidedly safe selection of Richard Roeper. The sparks between Roeper and Ebert never reached the intensity that Ebert and Siskel reached. That pairing was the best thing to happen to films, I think. Watching Siskel and Ebert spar over a film was like waiting to see who would throw the first punch. That's how adamant, devoted, and, well, cocky they each were. But it wasn't just cocky for their need to preen – you really got the sense that they each thought film was a vital part of expressive culture and they were devoted to honoring, celebrating, and defending it.

In later years, Ebert's own health problems curtailed his appearances on the series. While no one is saying, it's hard not to wonder if Ebert's health issues precipitated the final separation from the show.

As it turns out Roeper is leaving At the Movies as well. Couldn't hammer out a new contract with Disney-ABC Domestic Television. He leaves the show after eight years.

At the Movies will continue with new hosts Ben Lyons and Ben Mankiewicz, according to Variety.com. Lyons has covered film and entertainment online and on TV for E!, MTV, Access Hollywood, and TMZ. Mankiewicz is the more seasoned of the pair, known for his satellite radio program "The Young Turks." He was recently named the new daytime, weekend host for TCM (Turner Classic Movies) and begins that gig in September. And yes, he is one of those Mankiewicz's -- the grandson of writer Herman Mankiewicz and great-nephew of director Joseph L. Mankiewicz. Citizen Kane (1941), All About Eve (1950), Guys and Dolls (1955), The Pride of the Yankees (1942), Dinner at Eight (1933) and Cleopatra (1963) are a few of the films that have the Mankiewicz name attached to them.

Along with new hosts, At the Movies is going for a newer, fresher look. No word on when the new rendition of the series will launch.

The first (and only) time I met movie reviewer/critic Elvis Mitchell, I was so tongue-tied that I said something doofy – so doofy that I’ve blocked it from my memory. After this cringy experience, there is something comforting in seeing Mr. Mitchell appear somewhat starry-eyed in his very own one-on-one interview show, Elvis Mitchell: Under the Influence on TCM (Turner Classic Movies). For those familiar with Mitchell from NPR, he brings the same genial and erudite approach to this chat show, but this one focuses on a solitary guest. Sidney Pollack and Bill Murray were early guests. Laurence Fishburne and Quentin Tarantino are on deck.

What makes this show so engaging is that Mitchell is thoroughly prepared (as usual), yet does not sound so rehearsed as to make the conversation wooden (my only complaint with James Lipton, who hosts Inside the Actors’ Studio on Bravo). As each guest talks about his favorite films, clips and stills are shown when possible, giving some extra oomph to the chat, and giving some intriguing insight into how the guest/artist thinks. This is not an overview of the guest’s career (as in Actor’s Studio); it’s an overview of the films he saw, the actors, writers, and directors he admired, and how he works in the present day “under the influence” of those works.

Missed the Pollack interview. The first episode I happened upon featured Bill Murray. I’m ambivalent about Murray, but I found myself mesmerized by his interview — so much so, I watched the episode twice! That’s a rare occurrence for someone who rarely watches anything live and erases episodes as the credits are rolling. I wasn’t so surprised that Murray was a Marx Brothers fan and admired Cary Grant’s versatility, but hearing that he got weak-kneed over funny women (Gilda Radner made him swoon) was downright endearing.

Only a handful of episodes are scheduled, according to the TCM website. Hopefully, many, many more are on their way. Elvis Mitchell: Under the Influence airs Mondays at 7pm on TCM. Encores occur at 9:30pm.

Richard Roeper has made it official: He's leaving At the Movies with Ebert & Roeper after eight years. It really never was the same without Roger Ebert. For that mater, it was never the same without Gene Siskel. There was something about the way the two grated on each other. It was easy to choose sides. Siskel was too mean; Ebert was too soft. But they were the guys whose opinions about movies were both entertaining and realistic. We could trust their opinions to be consistent. That counts for a lot. Roeper seemingly knew he was a pale replacement for the late Siskel. Now with Roeper gone and Ebert likely never to return to the screen after prolonged illnesses and surgeries, it's time to face facts. The show is dead. Thanks, guys, for all the fun.