Richard Matheson's original short story, "Button, Button," was a nifty little morality tale about a couple faced with a peculiar opportunity -- if they push a button in a box, they'll get a sum of money but kill a stranger in doing so. That version of the story ended with the wife pushing the button and killing her husband, a man she didn't really know. As an episode of "The Twilight Zone" in 1986, the story ended with the couple paid off and assured that the device would then go to another couple to whom they qualify as strangers. Now, Richard Kelly's The Box takes that same basic premise and spins it into a mind-bender of the most baffling degree, starting out as another "Twilight Zone"-worthy variant but eventually reaching the outer limits of both patience and reason.

Yogi Bear and Boo Boo are bringing sexy back -- and that image should make you ripe for nightmares tonight. If you doubt me, look to Variety, who reports that Dan Aykroyd, Anna Faris, and Justin Timberlake are set to go to Jellystone in Yogi Bear, which Eric Brevig is directing for Warner Bros.

Aykroyd will be voicing Yogi, and he really is the most obvious choice to play the picnic basket thief. He's funny, he sounds gruff, and if it was live-action it would be a very terrifying thing to see. So thank goodness this is being done as a CG / live-action hybrid.

Timberlake will be voicing Boo Boo. Yep. The man who wants to love your mother, put his d*ck in a box, and who will cry you a river will lend his vocal talents to playing Yogi's diminutive sidekick. In this update of the Hanna-Barbera cartoon, expect Boo Boo to be a lot more of a smart aleck. (I was going to say "sassy," but I think that would be a far different Boo Boo.)

Though Faris has done voice work before, it sounds as though she might be one of the live action elements to this unholy hybrid. Variety says she's set to play a documentary filmmaker. Presumably she discovers the tourist robbing bears, and makes a film of them. Or she has to help them preserve Jellystone against evil developers. Either way, she'll have to talk to big rubbery CG bears, and it might be kind of weird. What would be even weirder is if one or both bears fell in love with her, so let's hope she falls into the arms of whoever plays Ranger Smith. Shooting is expected to start in New Zealand next month.

Every few years, it seems necessary in the course of critiquing home video releases to clarify and designate the difference between all of those terms that distributors and producers come up with to describe films that arrive in stores in a version other than their theatrical iteration. For example, "unrated" no longer simply means that a film is too bawdy or offensive to garner a proper MPAA rating; rather, in many cases it means that the studio re-inserted footage, and didn't bother to screen it for the ratings board at all. "Director's cuts," meanwhile, sometimes really reflect the original vision of a filmmaker for his movie, and sometimes just qualify as an alternate version that was supervised or approved by the director. And most importantly, none of these changes are an automatic indication that the film will be superior to the one that you saw in theaters, even if there's a little more gore or nudity or (God forbid) character development.

Ironically, the new Blu-ray for Heat carries no such designation – to anyone buying it, this is the same film they saw in theaters and on standard-definition DVD. However, at the top of the list of the disc's special features, the topline attraction is "new content changes supervised by director Michael Mann." Even for someone who's seen more than his share of extended, alternate, unrated and director's cuts, this was particularly intriguing, which is why Heat is the subject of this week's "Making The (Up) Grade."

While Morgan Freeman has dabbled in comedy in his long and illustrious career, I don't think he's ever really gotten a chance to really cut loose. He certainly hasn't gotten to play in the raunchy end of the pool, but it sounds as though he's taking the leap in Dirty Old Men. The Hollywood Reporter says that he's attached to star as an aging playboy in the tentatively titled project, and we'll either be laughing or horribly traumatized by his efforts.

Men was penned by Josh Cagan and Greg Coolidge, and is said to be similar in tone to The Wedding Crashers and The 40 Year Old Virgin. It centers on two aging playboys who have been each other's wingmen for over 40 years. One of them meets the love of his life, leaving the other (played by Freeman) to chase skirts on his own. Well, that just won't do. The lonely playboy does everything he can to break up the new couple. I will bet money there's at least one I-hid-the-Viagra scenario. No, I don't like to think about it.

Peter Segal is in talks to direct, and the hunt is on for the playboy-husband-to-be. Warner Bros is hoping Jack Nicholson will take the part and reteam with his Bucket List buddy. But if he turns it down, may I humbly suggest they look to Freeman's real life wingman, Clint Eastwood? If Viagra jokes must be made, let them be the two that make them.

What's happened to all the great movie nudity lately? Billy Crudup started the year off with a bang, so to speak, with his big blue penis in Watchmen, and Marcus Nispel's Friday the 13th reboot featured sweaty sex and generous amounts of naked female flesh, but the summer and fall seasons have been curiosly bereft of talked-about sex scenes or body parts. Jessica Biel's bravely-bared breasts and backside in Powder Blue went direct to video, Hayden Panetierre nonchalantly limited her exposure to 'side boobage' in I Love You, Beth Cooper, and Megan Fox decided to keep her nipples to herself in the proudly feminist relationship drama ('cause it sure wasn't horror) Jennifer's Body.

In my youth, movies educated me about the wonderful diversity of naked bodies. Today, television and the Internet have stolen much of the thunder once claimed exclusively by the theatrical experience. (Case in point: Susan Sarandon's daughter, Eva Amurri, just made a big splash by going topless in Californication.) No wonder Terminator: Salvation director McG teased the audience at WonderCon earlier this year, bringing actress Moon Bloodgood up on stage and asking: "Who wants to see Moon's boobs in the picture?" She later said: "I'm a woman, I have boobs, it's a beautiful shot." As anyone who saw the movie in a theater knows, though, her toplessness was cut, reportedly as part of Warner Bros.' effort to secure a PG-13 rating.

The unrated director's cut is due out on DVD and Blu-ray on December 1, and the deleted scene has, apparently, hit the Internet (watch it after the jump). The verdict?

After weeks of breathless speculation as to who would be riding George Miller's bleak highways of Mad Max: Fury Road, there's been a conformation. Variety reports that Charlize Theron has boarded the film, but that it'll be Tom Hardy (Bronson) who takes over the coveted lead. The script is being kept under tight wraps, so we still don't know if Mad Max: Fury Road will be a reboot or a sequel. Speculation has been rampant for more than twenty years, and as is the case with so many revived franchises, we'll probably end up being terribly wrong. Hopefully for the better.

So, we only know that Hardy is playing "the male lead. Will it be the Mad Max, made so iconic by Mel Gibson? Or will Max have taken on some kind of mythological, Robin Hood like status in the barren wasteland, and someone simply takes on the title? It could go either way (but hopefully not the way of Kevin Costner's The Postman), and I'm excited that Hardy has the part. He's been one of those actors lurking under The Really Big Time, and this could be the film that pushes him into stardom.

Theron's role might be the biggest and coolest surprise. She's a big enough name that I can't believe she'll be shoved into a corner as The Wife of Mad Max. Will she be a post-apocalyptic warrior too? I hope so. With so few remnants of humanity left, you need all the badasses you can get. It would be nice to see that reflected beyond Tina Turner.

August gave us the voice of Matt Damon in Ponyo, September gave us the inner voice of Matt Damon in The Informant!, and now October has brought us a look at his next two performances.

Clint Eastwood's Invictus is one of the last big likely contenders of the awards season, though it is as of yet unseen (unless those very few who have seen it are very good at being very quiet). Damon plays real-life rugby captain Francois Pienaar, whose team saw the support of Nelson Mandela (Morgan Freeman) as a rallying point around which they might lift the spirits of South Africa in the wake of apartheid. It's political! It's underdog! It's opening in December! It's Oscar bait for certain, and Apple has the exclusive trailer.

Paul Greengrass' Green Zone, on the other hand, was shuffled out of the Oscar race once Universal decided to sort out its slate after a lackluster summer at the box office, and that may have been a wise move. Yahoo's trailer (which is also embedded below) comes across as more of a straight-up actioner than a ready-made contender, with Damon back in Bourne mode as a betrayed soldier on the hunt first for WMDs, and then for answers. Based on the best-seller Imperial Life in the Emerald City, it opens on March 12, 2010.

The lovable and hilarious Steve Carell is a bona-fide TV star, but his big screen career has never taken off quite the same way. There were plenty of successes along the way, and he hasn't had an honest to goodness flop (actually, Evan Almighty lost a whole lot of money), but he just hasn't had that movie role that makes you think "Uh-oh, I think Scranton is going to get a new branch manager," you know? I don't know if Carell's latest will be the role that makes him into a full-fledged movie star, but The Hollywood Reporter's Risky Business Blog is reporting that the comedian is in talks to star in the golf-comedy Missing Links.

Links is based on Sports Illustrated writer Rick Reilly's novel by the same name, and it centers on a group of working class friends who scheme to sneak into an elite country club to escape their crappy public golf course. Reilly has some experience as a screenwriter, having already written the period sports comedy Leatherheads, but for Links, The Break Up's Jay Lavender will be in charge of the script. Carell has yet to commit to Warner Bros for Links, and he already has a pretty tight schedule with his role on The Office, the upcoming sequel to Get Smart, and Brigadier Gerard, so I guess we will have to wait and see if he signs on the dotted line.

After the jump; moments from other great golf comedies -- and no, I didn't include Dorf...

If I told you the next Dark Castle horror-thriller flick would star January Jones and Diane Kruger, you'd probably be interested. If I told you that the most recent Dark Castle horror flicks were Whiteout, Orphan, and Return to House on Haunted Hill ... you'd probably be a little less interested. But with the presence of two stunning blondes (and a half-decent concept), Dark Castle's Unknown White Male is starting to sound a little intriguing.

According to Variety, Ms. Jones and Ms. Kruger will join the very busy (and very lucky) Liam Neeson in Unknown White Male, which "centers on a man who awakens from a coma to find that someone else has assumed his identity, and no one, including his wife, believes him." The director is Jaume Collet-Serra, whom the horror freaks may remember from (Dark Castle) flicks like Orphan and House of Wax. The stunning Diane Kruger is best-known for her work in Troy, Inglourious Basterds, and both National Treasure movies, while January Jones (even the name is sexy!) has been seen in We Are Marshall, American Wedding, and the upcoming Pirate Radio. She's also a big hit on that Mad Men series.

Variety doesn't make mention one way or another, but I do believe this film is a feature (loosely) based on this documentary of the same name. And that's a damn good documentary.

Admittedly, a big part of the appeal of "Shelf Life" (as a film writer, anyway) is having a legitimate excuse to go back and watch a lot of movies we remember loving, partially for the hell of it, and partially because we wonder if our feelings have changed significantly over time. Interestingly, this has thus far not begat a lot of pure reassurance, nor transformed initial or even evolved/ devolved reactions; rather, it's given us a window into – and more specifically, a stronger argument for – some of the appetites and interests we've developed as our sensibilities as moviegoers (much less critics) has evolved.

This week's case in point is Contact, Robert Zemeckis' 1997 film about humankind's first contact with extraterrestrial intelligence. Released during the summer after my college graduation, when I was at the height of my pretentiousness as a cinephile, it nevertheless knocked my socks off when I saw it, combining a sense of wonder with technical proficiency and an emotional sophistication that wouldn't register with yours truly until much later. If it still has – which is precisely why it's this week's "Shelf Life" subject. (Well, that and the fact it's just been released on Blu-ray by Warner Home Video.)

If you live in New York, you may have caught the Broadway musical Rock of Ages, and left high on hairspray and Whitesnake. But most of us will be encountering this little-hit-that-could in its big screen incarnation. Late last year, Tobey Maguire and New Line bought the rights to the musical with an eye to bringing it to the multiplex (a bidding war that involved three studios). Now Variety reports that it's setting out on the right foot by hiring Adam Shankman as its director. The film will go into production next summer, and is aiming to hit theaters in 2011.

The story of Rock of Ages isn't terribly original. A couple meets at the Sunset Strip club Rock of ages, fall in love, and try to stay together amid the sex, drugs, and excess of 1980s rock. Their turmoils are all set to the tunes of Journey, Pat Benatar, Foreigner, Joan Jett, and Jon Bon Jovi. Like Mamma Mia!, it's all an excuse for a great nostalgic soundtrack, and there's nothing wrong with that.

Shankman tells Variety that he was itching to get back into musical territory after Hairspray, and sees Rock of Ages as a distinctly masculine musical: "When I watched Rock of Ages, I was struck by the fact that not only had much of the audience seen it more than once, every guy in the audience knew the words to the songs. I thought, 'This is Mamma Mia! for dudes.' What an extraordinary opportunity to open the genre to an audience that otherwise wouldn't go see a musical." If this could succeed in converting ordinary men to musicals (something Hugh Jackman hasn't even managed), I will love it on principle. Maybe it'll even bring back big hair -- and yes, I wish for that every day because I never got to rock that look.

Pop below the jump for a little Rock of Ages from the Tony Awards. Think it'll convert the menfolk out there?

You will see this headline pass through your Google readers and your Twitter feeds today: "Mike Mitchell to Helm Monster Squad." Your heart will race, your skin will flush with fury, and you'll set off to your favorite site (hopefully it's Cinematical) to pound out your anger via your keyboard. Not another remake! Not The Monster Squad! But here's where I can reassure you. Calm down. It's not Fred Dekker and Shane Black's Monster Squad.

Let's let your heart rate settle back to normal. Is it? All right then. According to The Hollywood Reporter and its misleading headline, Mike Mitchell is indeed directing a film called Monster Squad for Warner Bros. Like Dekker's film, it too is a supernatural comedy. But unlike Dekker's film, it once boasted the title Nightcrawlers, and was based on a spec by Brian Lynch.

It's reportedly changed plotlines numerous times. Variety notes that it was once centered on an international organization of children who have made it their mission to combat the monsters under the bed. (Familiar!) Michael Arndt rewrote the script to star a neurotic father who must face down childhood monsters. Warner Bros is keeping the current version by Brad Copeland under tight wraps, but it doesn't take much to suppose it deals with "monsters" and a "squad" that deals with them on some level. All teasing aside, this is good news because it means Warner Bros has opted for an original (but undoubtedly reminiscent) idea over their rival Paramount, who was toying with a remake as of last year.

You can't keep a good actor out of the comic book flicks. Jackie Earle Haley already has one of the most iconic DC characters notched on his belt, but rumor has it that he might get to pick up another. As you may have read earlier, Ain't It Cool News was reporting that Martin Campbell is in the process of finalizing his cast for The Green Lantern, and that Haley is at the head of the line to play Sinestro.

Haley has told Collider that no one has approached him about the part, and that he hasn't been screen tested ... but that doesn't mean he won't be. Haley suggested the Internet generally hears things before he does. "You guys are out in front of it and I don't know anything about it yet. If something comes up I'll let you know."

Even as rumor and guesswork, it's an intriguing possibility. Haley certainly has the villainous chops to pull off Sinestro, and Watchmen proved he had the physical chops. I've always pictured someone British in the role, though, and the best fan suggestion I've seen yet is Daniel Day-Lewis. I doubt the Method actor would ever delve into the world of DC Comics, but oh how wonderful it would be if he'd bring a bit of Daniel Plainview into the Green Lantern Corps.

Next to the table of contents in the new book Heads On and Then We Shoot: The Making of Where the Wild Things Are, there's a list of songs that Spike Jonze says were influential and inspirational in the making of his adaptation of Maurice Sendak's children's classic. Among them are plenty of melancholy mood pieces, including The Smiths' "Cemetry Gates," "Maps" by Yeah Yeah Yeahs, whose lead singer composed original tunes for the film, and perhaps most obviously, Arcade Fire's "Wake Up," which ultimately appeared in Wild Things' theatrical trailer. But in my opinion, the most telling track included on that list was Langley Schools Music Project's devastating cover of The Beach Boys "God Only Knows" sung by a chorus of Canadian schoolchildren in the late 1970s, it captures the deeper sentiment of desperation and loneliness in Brian Wilson's lyrics even as it reverberates with the naïve, wholesome enthusiasm of voices unfamiliar with real heartbreak.

In the best possible way, Jonze's film also harnesses that contradiction: it feels like a grown-up story told by kids, where all of its emotional weight is buried in the story or otherwise ignored because nobody seems to know better than to emphasize it. Bereft of nostalgia, much less a cinematic style that lends itself easily to conventional spectacle, Spike Jonze brings Where the Wild Things Are to life in a way that no one could have possibly expected, but thankfully in one better than they could have ever imagined.

This week, Spike Jonze's long-awaited adaptation of Maurice Sendak's Where the Wild Things Are finally arrives in theaters, rewarding us for years and years of devoted attention to the production's twists and turns. But as exciting as the saga of its making has been, we've been bummed out that there are so few stopgap releases offering a similar kind of creepy, beautiful melancholy for kid audiences (and especially, audiences that are kids at heart).

Then again, looking back at the legacy of so-called family films that truly offer something transgressive, much less a little bit trippy, there aren't a whole lot of titles that come to mind as consummate entries in that rewarding, rarified canon. All of which brings us to Willy Wonka & the Chocolate Factory. No, not Tim Burton's 2005 film about a dentist's son who overcomes his obsession with Michael Jackson impersonation with the help of an adorable street urchin; the 1971 Mel Stuart film that turned the stuff of kids' dreams into a palpable reality, while offering a few future nightmares along the way.

Whether by accident or design, Warner Home Video released Willy Wonka on Blu-ray last week as a home-video supplement to Wild Things, and both because of our affection for borderline-creepy kid stories and of course our appetite for all things high definition, Stuart's film is the subject of this week's "Shelf Life."