The folks at our sister site, Cinematical, are working hard to give you news and reviews of the best -- and worst -- the silver screen has to offer. Here are some of their musings on the latest blockbusters, indies, and everything in between:

• Even though Sandra Bullock is nominated for an Academy Award for her role in 'The Blind Side,' it certainly doesn't mean that she can't make mistakes. Cinematical discusses Bullock's Oscar nom as well as her simultaneous Razzie nomination for 'All about Steve.'
• I haven't heard good things about the new film 'Valentine's Day,' although as a sucker for star-studded ensemble casts, that certainly isn't going to stop me from seeing it. However, I'm not sure if it's a good idea to make a franchise out of the thing.
• Cinematical reviews 'Twelve' and calls it "a very special episode of 'Gossip Girl,'" which is fitting, as it stars 'Gossip Girl''s Chace Crawford.
• I'm not sure that the fact that Benecio Del Toro reportedly mumbles his way through 'Wolfman' makes me want to see it.
• Look out world, there's a new Coppola in town: Gia Coppola, Francis Ford's granddaughter, is taking a stab at directing.

In 1974, in between creating The Godfather and The Godfather, Part 2, Oscar-winning writer-director Francis Ford Coppola made a film that was just as seminal as the Mafia dramas: The Conversation.

It was in many ways a small picture, starring Gene Hackman (in a brilliant performance), and including some people on the brink of stardom, Cindy Williams (pre-Laverne & Shirley), Teri Garr (pre-Young Frankenstein) and Harrison Ford (pre-Star Wars and Raiders). The Conversation won the top prize as the Cannes Film Festival.

Now, AMC has given Tony Krantz (24), the go ahead to produce a pilot based on the film. It'll be set in the early 1970s and remain true to the film's premise: the story of Harry Caul, a professional sound man, a guy who can plant bugs and catch conversations using tape recorder and surveillance equipment, but is isolated and uncomfortable with human contact. In the film, Harry hears a conversation between a young couple and is unsure whether the information he's heard -- or thinks he's heard -- should be handed over to his client.