So that "Office Berserker" video we linked to last week—security camera footage purportedly showing a man going crazy at work and destroying his entire office, along with many of his coworkers—has been confirmed as another freaking viral marketing video (as suspected). This time the prankster was a Russian director trying to build buzz for a film called Wanted. Damn you, Timur Bekmambetov! It's getting to where you just can't trust online footage of unprovoked violence any more. If you care to, watch the clip again with a more jaundiced eye, after the jump.

The self-branding opportunities that Julia Allison, New York dating columnist, can squeeze out of Sex and the City are almost over, now that the movie's premiered. Here's one final attempt!

Going to the movies is already way too expensive. In Manhattan, two tickets, a large popcorn, and a drink will run you more than $30. And since most movies suck, it's a hefty gamble. But "the price of movie tickets is expected to skyrocket by as much as 30% this year." What? Shouldn't competition from the internet and Netflix be driving the price of tickets down? How the hell can this happen? Besides the fact that Adam Sandler ain't getting any cheaper, this cinematic economic time bomb all comes down to one thing: precious, precious corn.

So. This is the trailer for a "documentary" called Demons for Hillary. If this trailer is any indication, the film presents a series of man-on-the-street interviews with people who are scared of Hillary Clinton interspersed with pixelated hard-core pornography, including a delightful set piece in which little people in dime-store devil costumes take advantage of nubile young women. Which is why Hillary is not fit to be President. You can download the whole film right now for ten bucks! Could someone else do this and report back to us? We are too scared to. The film came with a baffling press release. "AVAILABILITY: Filmmaker Todd Fligner is available 24/7 -Los Angeles, Ca, nationwide by arrangement and via telephone. Great last minute interview." We're sure! Full press release after the jump. It involves the phrase "threesome tirades."

This upcoming film called "The Babysitters" is about babysitters, alright—hooker babysitters. One high school girl starts off as a mere child supervisor, but quickly comes to find that she can build more wealth selling her own body. Then all her high school friends are like "Hey, us too!" This movie may have been made before, but probably never outside the pornography industry. It stars Cynthia Nixon, and John Leguizamo as the lecherous husband, which is the role that John Leguizamo was born to play. The trailer [via Videogum], after the jump.

Was Billy Crudup one of those little boys who liked to dress up in his sister's outfits a little too often? Playing a girl once is a good way to show yourself to be a Serious actor who Isn't Afraid to take risks. Now he's playing FBI director J. Edgar Hoover in the film Public Enemies, who was also a notorious cross-dresser. [Variety] Click to see a pic of Crudup as a girl from the film Stage Beauty. He's pretty!

Those of you who were not among the meager handful of readers to click through our post yesterday about this mystifying Josh Hartnett short film for the New York Times missed a truly incredible answer to our question: What the hell is this all about? Commenter VirusWithShoes responded with a disquisition that reviews the film— and the nature of life—at a level of detail that is astounding, and absurd. The fact that someone who is (presumably?) working at another job during the day had time to write this is amazing. And scary. Reprinted below for your pleasure, the entire cinematic comment.

Terrible news about English filmmaker Anthony Minghella's death. Some criticized him for the high-gloss of his pictures, but really that just seemed emblematic of a certain admirable style, a visual elegance that was traditional and constant in today's jump cut, shaky camera auteur scene. In the films he wrote and directed, from the supernatural romance Truly Madly Deeply, to his masterpiece The Talented Mr. Ripley, to his last, curious effort Breaking & Entering, Minghella (who also produced and worked extensively in television) showed the passion of a true devotee of the medium. His technique may have lacked a certain zingy flair, but that was made up for by a refreshing lack of cynicism. Minghella's films brimmed with sincerity, a commodity that, especially today, feels pretty rare. After the jump, find some clips of his work.

This is awesome: a brief history on monkeys in film, from Ink 19. After all, who could forget that classic 1994 Thora Birch vehicle, Monkey Trouble? We love how author Vincent Basilicato sets down the rules: "Concentration here will be on real monkeys rather than created ones." In other words, Mighty Joe Young and Dr. Zaius do not count. We also appreciate nerdy segues such as, "Chimpanzees pretty much ruled Hollywood for the next 40 years," and the fact that even though many of these animals are technically apes or whatever, it's more fun to call them monkeys. Did you know? Showbiz chimps can get fired, just like everybody else...

As we mentioned yesterday, the Economist's More Intelligent Life blog has compiled their favorite book and film critics. We've compiled the faces on their list, and a poll! Go vote for the best. Remember: life is a contest, and only one person can win.

More Intelligent Life, the Economists's lifestyle blog, is picking their favorite film and book critics. In books, the New Yorker's James Wood came out on top.

As you might have noticed (it's practically impossible not to), New York City is always getting reduced to rubble in the movies. Cloverfield, I Am Legend and what's that one about all the freezing rain that had Jake Gyllenhaal in it? Oh yeah, The Day After Tomorrow. You might think that in a post-9/11 world, Americans might not find the idea of NYC being blown to bits very enjoyable to watch. Oh, well! "That is what will sell it overseas," a Paramount senior executive tells the NYT.

Mumblecore short Joe Swanberg's Quiet City is a "film prank," included on the new DVD for mumblecore classic Quiet City. Get this: it actually makes fun of the genre's hackneyed, but adorable stylings! Too self-referential! Click to see the trailer for the a.) hauntingly beautiful, or b.) jaw-grindingly self-indulgent trailer for the original Quiet City, directed by Aaron Katz. [Vulture]

In this screenshot from I Am Legend, a news ticker from a fictional 2008 TV interview reads "Giants lose to Patriots for second time this season 23 to 7." Which, since the Giants lost to the Patriots once this season (after I Am Legend was released) and are set to play them in the Superbowl, means I Am Legend has obviously predicted the future and you may as well place your bets. Also, Emma Thompson will cure cancer. [via Digg]

Caroline is an NYU film student currently working on her final project. Her movie is called Phantom Vibrations and Caroline refers to it as "a freestyle mumblecore piece." It seems to be mostly about her roommate drinking beer. All shot on expensive, precious 35mm. Roving videographer Alex Goldberg went over to meet the future of independent film/food service.

(Full disclosure: I actually dropped out of NYU's Tisch School of the Performing Arts, where I was studying playwriting and screenwriting until I realized no one paid for the former and, as pictured above, no one thought they needed the latter. If I'd followed my dreams, though, I might be on strike right now. Sigh...)

Like you, we're always overjoyed when the alternating New Yorker film critic is David Denby rather than Anthony Lane; it's one less review we have to read that week. Today's issue, however, produces something of a master class in why Denby is despised by all right-thinking people: "The New Disorder" is a four thousand word essay in which Denby lets you know that nonlinear narrative (apparently invented by Quentin Tarantino and Roger Avery in 1994) is difficult to follow. As Denby examines "the overloading, the dislocations and disruptions," you realize that this piece is equally, if not more, difficult. We're not sure what the bigger mistake is here. Is it the sheer pointlessness of attempting to codify narrative techniques that have been in place for at least a century, or the idea of having Denby as the explicator in the first place? In any event, in a fit of postmodernism of our own, we've recut and remixed Denby's essay. If you somehow have the fortitude and the free time, you can read both and decide which makes more sense. Or any sense at all.