Sounds more like Christmas with the Kranks to us, given the reports that Reese and Vince didn't exactly get along during filming. That's going to make promoting the movie interesting; picture them on daytime TV together: him rumpled and probably hungover, her glowering and taking questions about her other upcoming projects. Maybe this one should end with the main characters going about their separate ways. That sure seemed to work for The Break Up ...

Disney's latest morality tale sort of sounds heaps better than, say, Beverly Hills Chihuahua, but way less interesting as the Monsters Vs. Aliens teaser trailer that popped up online earlier this week. Hmm, what else to say? Well, Travolta is nowhere near as creepy to look at here than he was in Wild Hogs and Hairspray. Good luck to Ms. Miley Cyrus in her voice-role debut; she might be barely audible among the presence of "Curb Your Enthusiasm" standout Sussie Essman -- listen for her to steal as many scenes as she's in, though she'll have to keep her language family-friendly here.

In terms of movies, 2008 will be remembered as the year superheroes went truly mainstream and, separately, the industry realized that female and gay male audiences are a neglected demographic. But what about the younger generation -- more specifically, teenage girls? Has any studio been able to figure out what they want, aside from Hannah Montana? Enter Catherine Hardwicke's adaptation of Stephenie Meyer's first novel, a project that first captured our interest very early this year when Kristen Stewart (Bella), Robert Pattinson (Edward), and a handful of their castmates took over our STARmeter chart, well in advance of any available footage from the production. The hype reached its first apex at Comic-Con, when the movie's panel earned Beatlemania comparisons from aging journalists who covered their ears as the teen girls and their "Twilight Moms" made the event more of a freak-out and less of a presentation. It's always tricky to predict if Internet buzz will turn into box-office gold (or, in this case, crimson) but I will say this: If the mother-daughter duos turn out for opening weekend (which was pushed up from mid-December to pre-Thanksgiving once Harry Potter decided to hide until 2009), Twilight could trump some higher-profile holiday movies, powered by repeat audiences, and send competing studios rushing off to optioned like-minded novels. Stephenie Meyer is keeping a blog on the movie's progress, so you might want to bookmark it as your destination for all things vamp as the release date draws near.

The first of Daniel Craig's two year-end punches has already landed around the world, as QoS pulled in $160 million in under two weeks -- and this is before its U.S. opening, where it's set to drown Casino Royale's $40 million debut, Vesper Lynd style. In a contemporary setting, where Roger Moore has croaked that the series has become "too violent," Amy Winehouse can't stay sober enough to record her Bond theme, and Jason Bourne is threatening to become the world's #1 super-spy, we have to admire Daniel Craig's PC nature (such a nice contrast to the vengeance-seeking character he plays here), as well as Marc Forster's rejiggering of the Bond formula by taking the action to South America for the shortest, densest chapter to date.

Originally Russell Crowe was set to star opposite Kidman in this paean to the antipodean outback, but everyone's favorite bad boy balked at the salary, stating, "I don't do charity work for major studios." Charming or surly? In stepped Wolverine to help Mrs. Keith Urban herd cattle, and while we couldn't be happier that Jackman and Kidman will play dueling cheekbones, the combination of dust, sweat, and livestock seems a far cry from Luhrmann's usually spangled-and-sumptuous milieu. This better deliver more than cattle or you're looking at the Australian Atonement come Oscar time.An Update, with an Even Cattier Quote: In response to reports that Fox pressured Luhrmann to go with a more-uplifting ending than the one screened to test audiences, the director had this to say: "You really think that on my films people tell me what to do? I don't think so -- on my films I decide." Additionally, Luhrmann said it will be a surprise as to which of the three endings he shot will end up attached to the final print.

Say what you will about the original's primitive animation and whatnot, but it tallied up over $400 million in worldwide receipts, so this crack-a-lackin' sequel comes as no surprise -- but did it really require three years to come together? Maybe those psychotic penguins held out for more money. Maybe this time around the creative talent behind the camera will have more going on in the wild (something sorely missing from the first movie). And while we expect a big return here, honestly, we're more primed for Dreamworks' 2009 offering, Monster vs. Aliens.

Looks like a much leaner (as in: 0% body fat) Jason Statham has punched in for a third-and-final? installment of the franchise that helped him break big in America. But do me a favor: Watch the teaser trailer and let me know if you think it's kind of embarrassing that the production -- which is still being steered by writer/producer Luc Besson, but is in the hands of graffiti-artist-turned-director Olivier Megaton -- lifted a story convention from Statham'sCrank 2: High Voltage? In C2, Statham has a rejiggered heart that needs electrical jolts to keep ticking, here in T3, he's been outfitted with a silver bangle that will detonate if removed. Is this a metaphor for what might happen to Statham if he ever decides to transition out of action-anti-hero mode and into, say, a romantic leading man?

David Wain (The Ten) isn't nearly as famous as Judd Apatow, but he got his career started the same way (both guys turned oddball comedy shows into cult hits in the early/mid-90s) before taking tentative steps toward the big screen. And from the sound of this movie's premise, it appears that Wain is learning the lesson Apatow aced a few years ago: Get less cerebral with your comedy, rotate key players through your projects, and gun for the hard-R rating. I'm curious as to why these Models earned a winter release when they are clearly a summer-movie confection, though it is a savvy and rather funny counter-programming effort by Universal ...

Typically cheery British director Mark Herman (Little Voice) looks back to the dark days of WWII in his adaptation of John Boyne's acclaimed, super-depressing novel. Prepare to be horrified by David Thewlis and Rupert Friend in what could be the saddest film released this year. Awards bait? Certainly. What are its chances? We'll have to see what sort of push Miramax gives it -- they've also got Mike Leigh's buzzing Happy-Go-Lucky on their plate this season ...

While millions of Californians are reeling from Proposition 8's passage, Gus van Sant turns the clock back 30 years, to a golden moment in San Francisco that, though it soon turned to rust, provided a singular voice for the city's gay and lesbian population (perhaps something that was missing for Prop 8). I am fortunate enough to live in said city, and it was striking to see what the Milk crew did with their big budget (well, big for a GVS production) in order to return the Castro to its 70s-era splendor; Milk's camera store was recreated, the Castro Theater got a hot makeover, classic cars jammed the streets, there were parades, and Sean Penn could be seen traipsing around the Haight, looking foxy in a kimono. (At least I think that was him.) While the film received its fair share of attention toward the end of the summer -- James Franco, who plays Milk's lover, seemed to enjoy throwing a kink in Pineapple Express press junkets by describing what it was like to kiss Sean Penn -- we already know that distributor Focus Features (still smarting from Brokeback?) has an Oscar campaign waiting in the wings. Will Josh Brolin, who here plays city-supervisor-turned-assassin Dan White, receive a nomination for this role, or for W., or both?