Ryan Reynolds and Bradley Cooper are signing up for take-your-dads-to-work day.

The busy actors are attached to star in an untitled original action-comedy written by Sheldon Turner (“Up in the Air”), who snagged north of seven figures for the gig. The story follows two friends, who are also San Francisco cops, whose fathers were once partners on the police force. The older generation is forced out of retirement to help their sons crack a case, with typically antagonistic results.

The actioner is meant to have an updated “Lethal Weapon” flavor that plays into edgier R-rated territory.

Neal Moritz (“The Bounty Hunter”), Andrew Panay (“Wedding Crashers”) and Reynolds’ Dark Trick Films partner Jonathon Komack Martin (“Van Wilder”) are producing along with J.C. Spink and Chris Bender of Benderspink (“A History of Violence”).

I've been wanting to get this up since Thursday night, when the Writers Guild held its annual star-studded Beyond Words panel, but too many events piled up. The WGA's awards-season closer turned out to be a bizarre laugh-riot that managed to skirt almost completely any discussion of the craft of writing. In attendance were James Cameron ("Avatar"), Jon Lucas & Scott Moore ("The Hangover"), Scott Neustadter ("(500) Days of Summer"), Mark Boal ("The Hurt Locker"), Alex Kurtzman ("Star Trek"), Geoffrey Fletcher ("Precious"), Scott Cooper ("Crazy Heart") and Jason Reitman and Sheldon Turner ("Up in the Air"). Missing were Nora Ephron ("Julie & Julia"), Roberto Orci ("Star Trek"), Michael H. Weber ("(500) Days of Summer") and Joel and Ethan Coen ("A Serious Man").

Now that 21 critics' groups have weighed in, we have the tallies for four of the top awards-season prizes -- best film, best director, best screenplay adapted and original (unless the group gave a single script nod). (Here are some of the lists: New York Film Critics Circle, Los Angeles Film Critics Association and London Film Critics Circle.) What this means for the Oscars is (mostly) easy to divine. Adapted screenplay and director have built up a solid consensus, with Jason Reitman and Sheldon Turner's adaptation of Walter Kirn's novel "Up in the Air" nearly unanimous in the former category and "The Hurt Locker" helmer Kathryn Bigelow taking a vast majority of the prizes in the latter category. Reitman and Turner are virtual locks for the Oscar at this point, and Bigelow is looking very strong. The critics were split down the middle on Scott Neustadter and Michael H. Weber's "(500) Days of Summer" and Quentin Tarantino's "Inglourious Basterds" in the original screenplay category. Tarantino has his faithful, and his screenplays are a delight, but he's already got one (for "Pulp Fiction"). Neustadter and Weber, on the other hand, are total newbies and threw their own delightful twist on a worn-out genre. The Academy loves the fresh voice come Oscar night, and Diablo Cody, Michael Arndt, Sofia Coppola and Alan Ball have statuettes to prove it. The biggest head-scratcher is best picture. "The Hurt Locker" got more votes, but "Up in the Air" is clearly the more Academy-friendly film. It has greater scope, more fun, a wider range of praiseworthy elements -- and Bigelow scored director nods from groups who determined "Air" the better picture. What this tells me is that the top Oscar votes will actually be split: Bigelow for director (which brings the additional crowd-pleasing factor of bestowing the award for the first time on a female director), and "Air" for picture. This happens every few years. In 2006, Ang Lee took the prize for "Brokeback Mounatin" while "Crash" won the picture prize. In 2003, Roman Polanski took the directing honor for "The Pianist" while "Chicago" took the top prize. In 2001, Steven Soderbergh won for directing "Traffic" while "Gladiator" won picture. But perhaps the best predictive analog for this year is 1999, when Steven Spielberg won the prize for directing "Saving Private Ryan" while "Shakespeare in Love" took the picture win. Note the pattern when these awards are split: The edgier critical pick walks away with the directing prize while the more digestible, broader, mainstream offering gets the top slot. This year will be no different. Or do you think I'm wrong? Full tally after the jump:

An avalanche of critics awards fell over the weekend -- from Los Angeles, New York, Boston and Washington, DC -- and in some areas sharpened the Oscar-race picture. A few of the likely acting nods have begun to coalesce, namely around supporting actress Mo'Nique for "Precious" and supporting actor Christoph Waltz for "Inglourious Basterds." George Clooney is also looking rosy as a best actor winner for "Up in the Air." (Best actress remains a wash at moment.) Kathryn Bigelow and her latest, "The Hurt Locker," took several of the picture and directing awards. I tend to eyeball screenplay awards more than the others, as the talent on display in those categories generates all the other players' contributions. Those potential winners are starting to gel, as well. Jason Reitman and Sheldon Turner's screenplay for "Up in the Air," adapted from the Walter Kirn novel, took more honors, this time from the L.A. Film Critics Assn. and the Washington DC Area Film Critics Assn. -- the latter also awarded Reitman's film picture of the year honors. Meanwhile, the Boston Society of Film Critics gave its screenplay award to Joel and Ethan Coen for "A Serious Man." The New York Film Critics Assn. awarded the political farce "In the Loop," written by Jesse Armstrong and Simon Blackwell, its prize. (A dark horse, "Loop" also got runner-up from the L.A. contingent.)

The National Board of Review named "Up in the Air," written by Sheldon Turner and Jason Reitman, who also directed, its best film of the year this morning. So does that have any bearing on the film's chances come Oscar time? Not really. But we'll pretend it does. In truth, the NBR usually honors a film favored more by the critical establishment than the commercial or Academy-voting constituencies ("Moulin Rouge!," "Finding Neverland," "Good Night, And Good Luck."). But in the last two years, it synced up and started picking Oscar winners: "No Country for Old Men" and "Slumdog Millionaire." So perhaps three's a charm. But the truth is, Reitman's film doesn't need the help. Given its cultural timeliness, charm and good will, endearing performances and Oscar-bait thematic weight, "Up in the Air" is without a doubt the early lock for Best Picture. Think I'm wrong?