The Screengrab

The run-up to Father’s Day continues with more dad-friendly DVDs, including a handful of the most acclaimed films of 2008 to date.

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This week, a cinematic master gets the Eclipse treatment, and a viral-marketing-phenom makes its DVD debut.

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High-spirited actor and gonzo icon Gary Busey has apologized for what some regarded as an overenthusiastic introduction to actress Jennifer Garner at last month's Academy Awards, an event that we personally will never be able to link to enough times. Busey, who was himself nominated for an Academy Award for Best Actor for the 1978 The Buddy Holly Story (and who, more recently, won the Best Supporting Actor prize at the 2003 DVD Premiere Awards for his work in Slap Shot 2: Breaking the Ice, repeatedly interrupted Ryan Seacrest while Seacrest was conducting interviews on the red carpet for the E! channel, then compounded the offense by giving Laura Linney a peck on the cheek and attempting to climb Garner so that he could nap in her coiffure.

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Because we here at the Screengrab respect the inestimable refinement of our readership, we normally wouldn't stoop to lowbrow material like this (cough). But the above is the kind of headline we film writers dream of, and we'll be damned if we're going to let it get by. Hit the jump for what's possibly the most awkward red-carpet moment of the year. (Special props to the cameramen for catching Seth Rogen and Jonah Hill gawking in the background.)

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Paste magazine has published its "Art House Powerhouse 100", devoted to listing "the people behind the movies we love." The feature is self-consciously designed to serve as an alternative to the other "power lists" that such magazines as Vanity Fair and Entertainment Weekly get such a thrill out of assembling, with Paste's list striving to determine, "Who are the power players in the world of quality cinema? What individuals and organizations make intelligent, well-crafted movies and have the profile, financial resources and/or critical esteem to attract discerning audiences? In short, we looked for those at the intersection of art and commerce who make independent film the viable and sustainable industry that we’ve come to enjoy." After that buildup, the magazine proceeds to serve up a list of names that for the most part will not be unfamiliar to many people with a passing interest in high-profile moviemaking a little further off the beaten track than say. Transformers. But if few of them have been starving for media attention, most of them are certainly deserving of a pat on the back.

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When Laura Linney first began appearing in movies and on TV, she had what the Guardian's Barbara Ellen calls a "patrician quality" often found in stage-trained actresses of a WASPy mien and a "deceptively bare--classically beautiful" face, which seemed fused to a "nice girl" vibe: she played a lot of schoolteachers. Her movie parts started getting bigger with 1994's Congo, in which she wielded a big gun against a marauding horde of albino gorillas while the movie's alleged leading man stood there looking shell shocked, which really wasn't the most unreasonable reaction to the script. Somehow, Linney's career survived the drying up of the brief vogue for killer-gorilla jungle movies, but it may not have been until 2000's You Can Count on Me, where she got to have a cackle fit upon hearing her suddenly seamy love life reflected in a country song on the radio, where she really started to get the chance to stretch out onscreen.

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