You're probably thinking you don't need another documentary about the Iraq War. But you're wrong, because Alex Gibney's Taxi to the Dark Side is finally being released, and the film is one of three necessary docs dealing with Iraq. The triad, which would make a great box set if only the same company distributed all three films, also includes Charles Ferguson's very highly acclaimed Sundance jury-award-winner No End in Sight (on which Gibney was a producer) and Patricia Foulkrod's under-appreciated 2006 work The Ground Truth: After the Killing Ends.

What do they have in common? Well, if you put them together and watch them all, you'll feel like an expert on three important aspects of the war and its most significant repercussions. They may not tell you everything there is to know about the Iraq War, but they're more thorough and informative than most. No End in Sight is the most directly involved with the actual conflict, from its causes to its effects (read Kim's review here). The Ground Truth more specifically deals with the American soldiers, but in an all-encompassing, training-to-homecoming portrait of modern combat and its consequences (see my review here). Taxi to the Dark Side is sort of like a flip side to that film, though it doesn't necessarily focus on the enemy combatants. Instead it deals with suspected enemies, soldiers or otherwise, who are held and oftentimes tortured in prisons such as Iraq's Abu Ghraib.

Taxi to the Dark Side somewhat falls outside the box (set), though, in that it really isn't about Iraq. In fact, Gibney insists that his documentary is not an 'Iraq film.' Yes, it does feature a lot of details about, and footage of, Iraq's Abu Ghraib, which is probably the best-known prison of its kind, but it also prominently features Bagram, in Afghanistan, and Guantanamo Bay, the two other facilities used in the detention and interrogation of individuals presumed to be involved with Al-Qaeda, the Iraqi insurgency or any other enemy of the U.S. in its "War on Terror."

You know how it felt when you were in college and your dad would take you aside for a, "Let's have a serious chat about your future/what a slacker you are/why you need to start growing up and getting your life together" talk? Wasn't that fun? Or not. That's pretty much how it feels watching the lastest Iraq war flick, Robert Redford-helmed Lions for Lambs, written by Matthew Michael Carnahan, who also penned The Kingdom, which came out in September (and barely made back its $70 million budget).

Lions for Lambs gets its title from a story related by Redford's character, college professor Stephen Malley, about a German general in WW2 who had a lot of respect for the British footsoldiers on the front lines, even though he thought those brave men were being led by a pack of idiots. The general, Malley tells us, said of the soldiers "Never have I seen such lions led by such lambs." The film plays on that idea with our current (seemingly endless) war and the soldiers putting their lives on the line for decisions being made by people who don't seem to know what the hell they're doing. The anecdote could also apply to the film itself, which has heaps of earnest, heartfelt performances and a relevant message unfortunately wrapped up in an oddly discordant, moderately self-righteous package which is probably going to go right over the heads of most of the people at whom it's targeted.

300 fans (and if the Cinematical reader comments are any indication, that would be all of you), take note. Variety is reporting that much of the creative team behind that "abs n' stabs" action extravaganza is reuniting for a new film called The Last Photograph. Photograph is based on an original idea by 300 director Zack Snyder, and is billed as a drama about "a photograph that becomes the catalyst for a journey two men undertake through war-torn Afghanistan." 300 co-screenwriter Kurt Johnstad will write the film for Snyder to possibly direct. The producers of the film intend to develop the film and then put it up for auction.

Reading between the lines of the Variety article, it seems like Snyder wants to direct the project, but doesn't know if he'll have time. And he doesn't know if he'll have time because he's involved with, like, everything! He's currently shooting the highly anticipated Watchmen (check out an update from Snyder on the film's progress here). He intends to direct an adaptation of Ray Bradbury's The Illustrated Man (read more about that project here). He may direct Army of the Dead, a "zombies in Vegas" flick you can learn more about right here. And he's co-writing and might direct an action fantasy film called Sucker Punch (which you can read more about here). Though I admired the look of the film, I was no fan of 300. On the other hand, I really loved Snyder's remake of Dawn of the Dead. So consider me cautiously optimistic about all the Snyder in our future.

Deadline Hollywood Daily is reporting that Universal has won the rights to the life story of decorated NAVY Seal Marcus Luttrell. Last June Mr. Luttrell had published Lone Survivor: The Eyewitness Account of Operation Redwing and the Lost Heroes of SEAL Team 10. The book had garnered praise from military blogs and conservative critics. Published by Little, Brown & Company, the book has quickly risen to the top spot on the New York Times best-seller list. An earlier report on Deadline had news of a bidding frenzy between studios to secure the rights to the "patriotic property".

Luttrell began his military career as part of the elite SEAL unit in 2002. In June 2005, he and four other members of his unit were dispatched to Afghanistan to execute a Taliban leader. The unit was ambushed by Taliban soldiers and after an intense firefight, Luttrell was the only member of the team left alive. He was taken in by a small village who later crossed the Taliban by refusing to hand the soldier over, starting a battle that almost wiped out the village and was awarded the *purple heart for bravery by President Bush.

According to Deadline Hollywood, the title was purchased with Peter Berg in mind to direct. Berg has just finished filming the political thriller The Kingdom for Universal. But if the studio wants to wait for him, it could take awhile. Berg is filming the superhero drama Hancock with Will Smith and Charlize Theron. As soon as that film wraps, he is set to direct The Mission, which is a remake of the 1999 Johnny To flick Cheung fo. So if Universal is half as eager to put the project into production as they were to secure the rights, I hope they have a Plan B.

*Correction: Marcus Luttrell was awarded the Navy Cross for combat heroism.

What would it take to make a war movie extra special? How about zombified vampires? Yep, that's what you'll find in the cinematic adaptation of xxx's* graphic novel Virulents. According to Variety, director John Moore has been tapped by New Regency to turn the Virgin Comics release into a big gooey movie. By my estimation, John Moore has made two stylish and generally entertaining adventure flicks (Behind Enemy Lines and Flight of the Phoenix) and one resoundingly pointless Xerox of a genuine classic (The Omen). Still, two out of three isn't bad.

Here's a plot synopsis from the official Virgin Comics site: "A small platoon of American soldiers in search of their missing comrades comes across Indian commandoes looking for a group of terrorists suspected of hiding a most heinous weapon in the craggy breast of the Hindukush. It's a night of revelation as the Americans discove the fate of their lost brothers, and the Indiams discover the fate of their terrorists. But the terror is not in the form of flesh and blood, or bullets or gunpowder. Terror has a new name."

And that name is ... zombie vampires! Woohoo! So it's like a cross between Black Hawk Down, Dawn of the Dead and Near Dark? (Yeah, in my dreams it is.) Newcomer scribe John Cox has been given adaptation duties, and producer Gotham Chopra seems more than a little psyched about the project: The story is "set in a part of the world that has a long history of myth and mystery, and it's going to rock." So there you have it: It's set in Afghanistan. It's got soldiers and terrorists and zombo-vamps. It's going to rock. I'm officially psyched to see Virulents.

* Neither the Variety article nor the official Virgin site can tell me who wrote / drew the Virulents book. I'd dig a little deeper and find out for sure, but I think it's pretty weird so I choose to let it just hang there for now.

The Road to Guantanamo is certainly remarkable for its relevancy to the ongoing controversy of the Guantanamo Bay detainment camps, but it is a notable film for other reasons besides its timeliness and availability to political exploitation. Directed by Michael Winterbottom and Mat Whitecross, it is the former's most effective film (and the latter's first) in that it masterfully displays a grasp of cinema's capacities. While I disagree with most of what critics (including our own Karina) are saying of its cultural significance, I do agree with and insist on the recommendation that it be seen.

I think that it needs to be appreciated foremost as an astonishing tale of survival, a kind of modern Odyssey with a touch of the old mistaken-identity scenario, presented in a pointedly discriminating first-person narrative. Though based on a true story, the film maintains a one-sided fallibility that keeps it fairly subjective. Sure, it could be used in the campaign against the camps, but not as evidence. It is simply a visual testimony.

Another good title for Beyond the Call would be The Santa Claus 3, if only it didn't sound too similar to a very different movie scheduled for release later this year. Nonetheless, Beyond the Call is a perfeclty fine name for Adrian Belic's extraordinary documentary about three old men -- occasionally with white beards -- traveling the world with presents. Unlike Santa, they don't travel just once a year and they don't cover all of the earth in one mission. Also, instead of toys, they give out food, medical supplies, clothing and blankets. Sometimes, though, they bring something like a solar-powered oven, which certainly looks like a big toy.

Meet Ed Artis, Jim Laws and Walt Ratterman, aka Knightsbridge, a three-man humanitarian organization that provides aid to needy people, one impoverished country at a time. In the Tribeca Film Festival guide, the film's synopsis describes them as "part Mother Teresa and part Indiana Jones," which earned a few rolled eyes from the Cinematical staff at first. Well, wouldn't you know their interpretation is spot-on? Sure, they don't recover artifacts or fight Nazis, but their role is just as much adventurous as it is altruistic.

Shadow of Afghanistan should be required viewing for all Americans. It should be shown in schools or, better yet, somehow as compulsory television to get the non-students, too. Okay, so mandating programs is not the way we do things in the United States; conservative influence would never allow something so easily deemed anti-war propaganda into most of our school districts. But the documentary, from Oscar-nominated filmmakers Jim Burroughs and Suzanne Bauman, is not merely something to suggest seeing; it is one of those films that mostly benefits those viewers with no interest in it, who would never consider such a suggestion.

An exhaustive look at the last fifty years in Afghan history, the film is vital primarily for its information, which I'm sure could easily be learned in a book about the country. Of course, movies are not only capable of attracting more people to any subject; their visual format often illustrates points more comprehensibly for people as well. A textbook could tell me how Afghanistan was very prosperous in the 1950s and '60s, but I am better able to absorb this concept and its significance by seeing footage of the country during that time, and by hearing stories from individuals affected by its subsequent economic change. The same heightened understanding can be applied to the Soviet invasion, the exile of refugees, the civil war, the rule of the Taliban, and finally the U.S. invasion.