Sure enough, the first week of December brings the first formal slew of awards nominations, today's coming from Film Independent's Spirit Awards. The Hollywood Reporter bring us the list of nominees, with dramas Ballast, Frozen River and Rachel Getting Married each tied for the most nominations (six a piece, including Best Feature; the other two nominees there are Wendy and Lucy and The Wrestler).

Now, these awards aren't necessarily Oscar precursors or anything -- some of these films are just too small -- but it's difficult to deny that the likes of Milk, The Visitor, The Wrestler, Rachel, River and documentary contender Man on Wire are all looking at the first of many nominations in the coming weeks, most of which I can safely say are or will be deserving. I can't speak for Ballast, but it's been earning attention in the indie world for months and months, so do as I do and keep an eye out for it.

The greatest assurance can only be taken once the Spirit Awards are awarded on February 21. See the full list of nominees after the jump.

On a normal weekend, there are usually eight or nine new independent films opening in limited release, compared to three four wide releases. But for Thanksgiving, those numbers switch sides -- the multiplexes will be crowded with Twilights and Bolts and Transporters and Christmases and so forth, while the art houses have only a few new titles arriving.

In other words, there's not much to say in this week's Indie Spotlight, and there won't be any need for a Spotlight next week at all. So enjoy these few limited-release films opening today and next Wednesday: The Betrayal, I Can't Think Straight, Lake City, and Special.

The Betrayal (Nerakhoon)
What it is: A documentary about a family that emigrated to the U.S. after the bombings in their native Laos that occurred during the Vietnam War.
What they're saying: Wow -- all 12 reviews at Rotten Tomatoes are positive. "Lyrical, expansive, unbearably beautiful," etc.
Where it's playing: New York City (IFC Center).
More info: The official website has a list of release dates, most of which are several weeks hence.

Lake City
What it is: A drama starring Troy Garity as a man who returns to his Southern home and his mom (Sissy Spacek) after a tragedy separated them for many years.
What they're saying: Lake City is a lovely title, but the critics are saying it's all wet, or some other water-related metaphor. With 11 notices at Rotten Tomatoes, only one is positive, the rest indicating that despite Sissy Spacek's good performance, the movie is too serious, contrived, and banal.
Where it's playing: New York City (Quad Cinema).
More info: I can't find an official site anywhere.

A personal checklist and shopping guide:

Wall-E
As with all great movies, I quickly forgot about everything except the characters and the story. Wall-E sparked some surprising political and sociological debates, but no one can deny the sense of wonder that the boxy robot and his adventures engender. Erik's already run down the special features; the toughest decision is which editon to get. Buy it.

Tropic Thunder
I skipped this one theatrically because I'm worn out on Hollywood self-mockery -- has any other industry ever found itself so simultaneously fascinating yet repulsive? Still, reviews were generally strong, and this is the best bet this week for a broad, R-rated comedy, as long as you haven't overdosed on Ben Stiller and Jack Black. Does Robert Downey, Jr. make it all worthwhile? Rent it.

Encounters at the End of the World
Speaking of something simultaneously fascinating yet repulsive, Werner Herzog traveled to the Antarctic to make a personal essay assailing the ugliness of the man-made town from which all journeys Seriously Down Under begin, and questions the sanity of some of the people who work there. Then the beauty of the place overwhelms everything, before Werner starts asking about the sex life of penguins to liven up an interview. Oh, Werner! Rent it.

The Sisterhood of the Traveling Pants 2
Girl power got a kick in the, er, pants, with this sequel, which takes place in a fantasy land of upper class privilege masquerading as lower middle class struggles. No doubt some will take me to task for missing the moral message which is rolled up somewhere inside the pretty scenery and prettier tears; I admit I dozed off a couple of times. In a weird way, this could be a good contrasting double-bill with Twilight. Under 18? Rent it.

There's a reason that us critics tend to hold certain films in excessive regard -- because after seeing hundreds and hundreds of them every year, to champion one or two or a dozen across those fifty-two weeks is a chance to bring attention to something that deserves it, something distinctly non-mediocre and perhaps unconventional.

Dear Zachary: a letter to a son about his father falls into that category. Erik praised it effusively from its Slamdance premiere and beyond; soon joining his ranks would be Monika; and it currently lingers second to only one on my own tentative top ten list for 2008. We get it. According to Rotten Tomatoes, 33 out of 34 critics get it. In fact, it seems like the only ones who don't get it just happen to make up the Academy of Motion Picture Arts and Sciences.

With the news that the musical score from The Dark Knight has been disqualified from Academy Awards consideration on the grounds that too many people were credited with composing it, outrage against the Academy's stringent, complicated rules has erupted afresh. In the interest of fueling this indignation and making the world an angrier place, let's take a belligerent march down memory lane and look at seven other controversial disqualifications.

The Jazz Singer disqualified for being a talkie. When the very first Academy Awards were held in May 1929, honoring films released between August 1927 and July 1928, everyone was talking about The Jazz Singer -- the first feature-length movie to use recorded sound in some of its talking and singing scenes. So great was the attention that the Academy disqualified the film from the inaugural Best Picture category, reasoning that its use of sound put it on an uneven playing field against the films still stuck in silence. Instead, the Academy gave Warner Bros. a special award "for producing The Jazz Singer, the pioneer outstanding talking picture, which has revolutionized the industry." It's true, too! I don't know if you've noticed, but pretty much all movies nowadays have talking in them.

Young Americans disqualified from Best Documentary category ... after it already won. Whoops. This is a sad case, and a unique one. The documentary, about the peppy Young Americans show choir, won the Oscar at the 1969 ceremony for being the best feature-length documentary of 1968. But a few weeks later, the Academy discovered that the film had screened at a theater in October 1967, making it eligible for that year's awards and not for 1968. The Academy actually took back the Oscar statues from the filmmakers, Alex Grasshoff and Robert Cohn, and gave the award to the film that had been first runner-up. When Grasshoff died earlier this year, his widow told the Los Angeles Times how heartbroken he'd been. Can you imagine?

By Kim Voynar (reprinted from 03/17/08 -- SXSW Film Festival)

Quick, raise your hand if you're a Harry Potter fan. Yeah, there are a lot of boy wizard fans, which is probably why a documentary about Harry Potter fandom sounded like a great idea. We Are Wizards, though, is not so much a documentary about Harry Potter fandom in general, as it is about the "Wizard Rock" bands that have grown up around the franchise, and a couple of the bigger Harry Potter fan sites.

The film introduces us to some of these Wizard Rock bands, including Harry and the Potters (brothers Paul and Joe DeGeorge), Draco and the Malfoys (brothers Brian Ross and Bradley Mehlenbacher), and The Hungarian Horntails, headed up by seven-year old punk rocker Darius and his four-year-old brother, Holden, who write songs they call "dragon rock."

He spent a lot of time voicing Sonic the Hedgehog, but Jaleel White is much more well-known for playing Steve Urkell, that nerdy dude who annoyed his way from guest appearance to most memorable star on Family Matters. But, God, that was ten years ago now, and Jaleel has not only grown up, but stretched his way outside the acting world.

The Hollywood Reporter posts that White has written a romantic comedy called Did You Get My Text, which Joel Zwick (My Big Fat Greek Wedding) will direct. The film follows a young man who somehow "starts a relationship with a girl on his friend's phone, turning their courtship into a comedy of technological errors." Just how does that happen, anyway? And by comedy of errors, I imagine that means this poor girl finally thinks the young man's friend is into her? Oh dear. Right now, there's no word on cast, but we'll probably hear more about the players soon enough.

Since the film is being produced by Matthew Cooke and Bert Marcus, the THR piece also mentions another project -- Propaganda. Adrien Grenier is on-board to produce the documentary, from writer/director Cooke, which deals with free speech struggles in the wake of the Patriot Act as well as Internet materials being removed due to copyright laws.

It's a light weekend at the multiplexes, with just one new wide release to take in. The good news there is that once you're done watching James Bond kill and/or sleep with people, you'll have plenty of time to head to the art houses and see what the independent scene has to offer. The Indie Spotlight is here to round 'em up for you, and there are nine diverse choices opening today: Bohica, A Christmas Tale, Dostana, The Dukes, Faded Memories, House of the Sleeping Beauties, How About You, Slumdog Millionaire, and We Are Wizards.

Here's the lowdown on each of them:

Slumdog Millionaire
What it is: It's the feel-good sensation of the year that has critics raving, that's what! It's about a kid from the streets of Mumbai who somehow makes it to the final round of India's "Who Wants to Be a Millionaire" -- and in particular about the events of his life that brought him there.
What they're saying: Cinematical's Kim Voynar called it Danny Boyle's best film to date when she reviewed it at Telluride. It's rocking a 92% approval rating at Rotten Tomatoes, with an average score of 8.2 out of 10, making it one of the best-reviewed movies of the year. If this movie doesn't make you feel good it must be because your heart is gnarly and cankered.
Where it's playing: New York City (Angelika, Lincoln Plaza), Los Angeles (The Landmark), Chicago (Landmark Century Centre, Century Evanston 18), San Francsico (Embarcadero).
More info: The official site has a list of when it opens in other cities. Expansion starts next week.

By now we all know that Michael Moore doesn't make documentaries like our grandfathers did. He's a master of polemics, using his films to rail against corporations, guns, governments, insurance companies, and whatever else riles up his David vs. Goliath sensibility. When his most recent project was announced in May, it was described as a sequel to Fahrenheit 9/11 that would "tackle what's going on in the world and America's place in it," as pointed out by The Hollywood Reporter. Now, however, THR says the film will focus on "the global financial crisis and the U.S. economy."

Moore is still "feverishly shooting" and it's hoped the film will be ready for release next spring. At first blush, though, it sounds like he decided to make the mid-project adjustment in reaction to (or in anticipation of) the Democrats' victory. Without Bush to bash, and without the Republican Party in control of Congress, how much mileage could he get out of criticizing U.S. foreign policy with a new President steering a (presumably) different course?

Unlike many documentary filmmakers, Moore appears to start with a conclusion on his projects and then search for footage to back it up. Documentarians often say they don't really 'find' their film, or discover the story, until they're knee-deep in editing, but it doesn't sound like Moore works that way. Which doesn't mean his films lack meaning or substance or entertainment value, just that they're more like personal essays than traditional docs.

Fred Durst wasn't the first Du-singer to make it into the world of cinema. Back in the '90s, Counting Crows singer Adam Duritz produced two films, and now, a decade later, he's heading back to the biz. Variety reports that Duritz is going to produce a new film from the Broken Lizard comedy troupe called Freeloaders. Written by director Dan Rosen (with the lead singer of Gigolo Aunts, Dave Gibbs), the film focuses on "five guys and a girl who live in the lap of luxury in a rock star's mansion." That is, until the star decides that he wants to sell his home. Oh, the woes of groupie moochers. Broken Lizard (Super Troopers) is financing the film, and I imagine they're also starring in it -- that leaves us with the girl, and the rock star. Will Duritz take it? And speaking of '90s singers and film -- who's next? Mmm Mmm Mmming Brad Roberts?

Meanwhile: I knew it!! As soon as word hit earlier this year that Cheech and Chong were going back on the road, I wondered how long it would be before a reunion film. Well, we're not getting a fictional feature (not yet), but we are getting a concert documentary. The Hollywood Reporter posts that the Weinstein Co. will produce and distribute a doc based on their current Light up America tour. But don't hold your breath -- whether this makes it to the big screen depends on what the company thinks of the final product. Then they'll decide whether to release it in theaters or television.

The Halloween weekend scared up frighteningly weak numbers for bigger studio releases. How did independent films fare?

Winners:
1. My Name is Bruce (Image)
2. Noah's Arc: Jumping the Broom (Logo)
3. Religulous (Lionsgate)

Let's hear it for Bruuuuce! (Not, not Springsteen.) Ladies and gentlemen, the fabulous Bruce Campbell debuted at the top of the heap among limited releases, with a per-screen average of $18,800, according to estimates compiled by Box Office Mojo. Opening at one theater in New York, My Name is Bruce features Campbell as both star and director. Campbell's site lists upcoming screenings and appearances by The Man Himself.

Romantic comedy Noah's Arc: Jumping the Broom fared well in its second week of release, making an estimated $14,820 per screen, representing a normal drop of 50%. Are there enough loyal fans of the Logo TV series out there to support a wider release? It will expand to Detroit, Houston, San Francisco, Palm Springs, and Ocean, New Jersey on Friday; the official site has complete theater information.

Now in its fifth week, Religulous continues to draw audiences eager to see Bill Maher's take on organized religion. Earning $1,358 per screen, the film has grossed $11,452,000 so far; it recently became the highest-grossing doc of the year and is among the top 10 highest-grossing docs of all time, according to Docsider.

Not Winners / Indie Horror Scorecard:
1. Dear Zachary (Oscilloscope)
2. Splinter (Magnolia)
3. Eden Lake (Third Rail)

Despite our editor-in-chief's highest recommendation, Dear Zachary only made $2,800 at its single engagement. Perhaps word-of-mouth will build? That's still better than highly-regarded horror pic, Splinter, which managed only $2,200 each at four theaters (per Leonard Klady), or well-reviewed Brit thriller Eden Lake, which got dumped by the Weinsteins onto their loss-leader distribution arm Third Rail Releasing and drew just $550 per screen at 10 theaters.

Boo! And I mean "boo" in the Halloween sense, not in the "opposite-of-hooray" sense. The multiplexes have plenty of films geared toward this sacred holiday season, but so do the art houses! The Indie Spotlight is here to tell you what's opening in limited release this weekend, and there are a couple of frightfests in the mix. Just because it's not on 3,000 screens doesn't mean it can't scare the skittles out of you.

Here's the lineup today: Able Danger, Dear Zachary: A Letter to a Son About His Father, Eden Lake, The First Basket, The Matador, The Other End of the Line, and Splinter. And here's the lowdown on each of them, in my own highly subjective order of preference.

Dear Zachary: A Letter to a Son About His Father
What it is: An emotionally devastating documentary made by a man after his best friend was murdered.
What they're saying: We've been raving about this film ever since Erik Davis saw it at Slamdance back in January. It's one of the most powerful films I've ever seen, and I know about a dozen people who've seen it who would say the same thing. A few of them are at Rotten Tomatoes, where the film currently stands at 100%. See this movie.
Where it's playing: New York City (Cinema Village).
More info: The official site lists upcoming release dates in other cities

Splinter
What it is: A grisly horror flick about four young people who are terrorized by a parasitic creature.
What they're saying: Ten out of twelve critics at Rotten Tomatoes give it a thumbs-up, saying it's an efficient, creative B-movie -- exactly what it's supposed to be.
Where it's playing: New York City (City Cinemas Village East), Austin (Dobie Theatre), Los Angeles (Mann Chinese), Dallas (Studio Movie Grill), Oklahoma City (Museum of Art).
More info: The official site has upcoming release dates, plus info on how you can watch the film through some cable systems' on-demand service.

(With Dear Zachary arriving in theaters this weekend, we're rerunning our review from Slamdance)

By: Erik Davis

I don't know how to review this film. It's so personal, so emotional and so powerful that if I dedicate a paragraph to a few technical issues, it would completely take away from the fact that this was one of the best documentaries I have ever watched in my entire life. Following the Slamdance premiere of Dear Zachary, I asked my friend if the director had also submitted to Sundance. Apparently, he did. How or why Sundance did not accept this doc is beyond me. And here's a note to any programmer from any fest reading this review: Play this film. And here's a note to anyone looking to purchase a doc to distribute and whatnot: Buy this film. I don't work for a studio, thus I'm not keen on all the politics involved, but I guarantee if this doc was picked up by, say, HBO, it would change lives immediately. (Note: It has since been picked up by MSNBC Films and Oscilloscope Laboratories)

Matt Dentler made a good point over on his blog. While briefly talking about the film, he said, "I'm not going to link its Web site for a reason: this is a documentary you need to experience with as little advanced knowledge as possible. You just need to know it's worth seeing, and will probably grip you tight from the very beginning. But, like so many festival films, it hits you hardest when you go into it knowing very little." And I completely agree, which is why I won't go into too many details after the jump.

Cinematical has just received this exclusive clip from the documentary Until the Light Takes Us, which will enjoy its premiere at the upcoming 2008 AFI Fest in Los Angeles. And for those interested in learning a bit more about this flick -- which was just featured as one of LA Weekly's Critics Picks -- then I have three words for you: Norwegian Death Metal. Gotta be honest and say this ain't exactly the type of music I rock out to on a daily basis, but the doc itself looks pretty interesting.

From the synopsis: This riveting documentary provides a voyeuristic glimpse into the world of Norwegian Black Metal - an extreme sub genre of heavy metal, which has been met with considerable hostility from mainstream culture, mainly due to the misanthropic and anti-Christian ideology of many bands as well as its sound. The founders of this morbid branch of heavy metal consist of a handful of surprisingly articulate Norwegian teenage friends with a complex set of extreme nationalistic, anti-Semitic and anti-Christian beliefs. These young men actually practice what they preach, engaging in rampant church burning, suicide and even murder, while in the process becoming some of the most notorious criminals in European history." You can read more about Varg Vikernes, who's the man featured in the clip below and one of the architects of this underground music-art-political scene, over here. And if you're in Los Angeles for AFI Fest, do pop in and let us know what you think of the film (we'll try to have a review up real soon).

Looking for something to watch this weekend that's not called High School Musical 3 or Saw 5? Then our friends at Cinetic and SnagFilms have a pair of very topical political documentaries you might enjoy...

The first one is called 18 in 08, which is "a nonpartisan documentary film made by 19 year old director, David D. Burstein. It is targeted at today's 17-24 year olds, many of whom will be voting for the first time in a presidential election in 2008. 18 in '08 features interviews with many of the most influential politicians of today, as well as popular culture figures, political activists, media commentators, and student leaders." You can see this film right here.

The second is A Call to Action, which "depicts how voter registration organization HeadCount, and other non-profits, have turned the live music community into a politically influential force. Join Bob Weir, Trey Anastasio, Marc Brownstein, Al Schnier, Bela Fleck and many other HeadCount supporters as they reflect upon the history of the organization, its mission and the live music scene's increased mobilization around causes." This one is viewable right here.

I've got a pretty busy weekend planned (Go Phillies!), but we'd love to hear some reactions if you sit down with either film.