You all remember how mad Spike Lee was at Clint Eastwood (and the Coen Brothers, too) at Cannes, right?

Well, as one would expect from Dirty Harry, Eastwood came out with guns blazing in response, in an interview that ran Friday in The Guardian. All of the buzz about Clint's interview is focusing on one line: that Spike should "shut his face." Clint did say that, but the interview contains plenty more controversial tidbits:

Monday night marked the beginning of Jimmy Fallon's career as the host of NBC's venerable The Tonight Show, a job that -- based on his predecessor -- he'll either have for three decades or nine months. In an amusing bit of timing, Fallon's promotion to late night's top spot arrives exactly ten years after his bid to become an A-list movie star. That's right, 2004 was the year Taxi zoomed into theaters… and then zoomed out again just as quickly, effectively ending Fallon's big-screen career. In case you don't recall (and honestly, why would you), the wacky buddy comedy cast the then recent-Saturday Night Live refugee as a bumbling cop with a deep-seated fear of driving who teams up with a road crazy taxi driver (Queen Latifah) to take down a crew of smoking hot bank robbers… because that's what happens in wacky buddy comedies. To mark the occasion of Fallon's new gig, I watched Taxi and his maiden Tonight Show episode back-to-back to see how they stacked up against each other.

In which The Chronicles of Sundance comes to an end.

The Festival de Cannes announced most of its 2008 lineup this week. In a Moviefile entry last week, I mentioned that Hollywood expected to have a meager showing in the competitive portion of the Festival. One article said that Charlie Kaufman's Synecdoche, New York might be the only entry, unless Steven Soderbergh could complete his mondo four-hour Che Guevara biopic under the wire. Soderbergh appears to have accomplished this feat, as Che is listed in the Festival's recently released press kit.

If somebody had to remake Oldboy, I'm glad it was Spike Lee. Arriving a full decade after Park Chan-wook's original film warped peoples' fragile little minds, setting off the South Korean New Wave in the process, this Americanized version is a surprisingly faithful re-do at least in terms of the general arc of the plot. Once again, a drunkard (Josh Brolin this time) wakes up from night of alcohol-fueled revelry to find himself locked in a hotel room, where he proceeds to spend the next twenty years of his life. When he's unexpectedly released one day, he embarks on a mission of vengeance that takes him to some dark, messed-up places that if you've seen the original you already know about and if you haven't, I'm not about to ruin it for you. Where the film establishes its own identity, however, is in its style; while Chan-wook's Oldboy constantly teeters on the edge of the absurd -- finally tipping over in the final act -- Lee rushes full-bore into Crazytown early on and the results are fun to watch, even when Oldboy 2.0 threatens to dissolve into a blood-red puddle of pure ridiculousness.

After a few days of "is he in or is he out" speculation, The Hunger Games director Gary Ross finally made it official yesterday: he will not be returning to helm the second installment in the wildly successful YA (and now film) franchise, Catching Fire. This leaves the movie, which is set to begin filming in the fall for a November 2013 release date, without a guiding hand behind the camera. While Lionsgate will move to fill the director's chair quickly, the question of who will and should nab this plum assignment will be bouncing around Hollywood (and Hunger Games fan sites) for the next few days. Personally, we're excited at the prospect of seeing what another filmmaker might bring to the series because while Ross certainly deserves credit for getting the series off the ground -- and bringing the best out of Jennifer Lawrence -- based on what we saw in the first film, there's definitely room for improvement. Here's our own personal wish list for Catching Fire's helmer:

The last filmmaker you'd associate with an Elizabethan-era drama exploring the identity of the "real" author behind the work of William Shakespeare would be Roland Emmerich, the director of such spectacle-driven, explosion-filled entertainments as Independence Day, The Day After Tomorrow and 2012. And yet, there's Emmerich's name in the credits for the already-controversial Anonymous, which opens in theaters on Friday. It's a daunting departure for Emmerich, but he's far from the first director that's attempted to upend his image by accepting an assignment that seems well outside of his comfort zone. Here are some of the other biggest directorial change-ups from within the past decade or so.

Eva Mendes is in talks to work with director Werner Herzog and Nicolas Cage in Bad Lieutenant, which makes me wonder: Hasn't she been reading about all of the crazy that is Herzog and this movie? Well, Eva, read along here for a brief catch-up: