Mark Wahlberg-Russell Crowe's 'Broken City' to Hit Theaters Jan. 18, 2013

Twentieth Century Fox has closed its deal to acquire Allen Hughes' Broken City--starring Russell Crowe, Mark Whalberg and Catherine Zeta-Jones--and will release the film on Jan. 18, 2013.our editor recommendsRussell Crowe Joins Mark Wahlberg in 'Broken City' VIDEO: Mark Wahlberg Plays a Father on a Mission in 'Contraband' Trailer Financed by Emmett/Furla films, the $60 million pic tells the story of an ex-cop (Whalberg) who is hired by the mayor of NY City (Crowe) to follow the politican's wife (Zeta-Jones). After the detective confirms the mayor's fears that his wife is cheating on him, the wife's paramour turns up dead and a larger scandal begins to surface. Whalberg, Hughes, Randall Emmett, George Furla and Stephen Levinson are producing. STORY: Mark and Donnie Wahlberg Opening Restaurant Called Wahlburgers January 2013 may be two years away, but the Jan. 18-21 weekend, the Martin Luther King Jr. holiday, is already crowded. Broken City will go up against Lionsgate's Arnold Schwarzenegger starrer The Last Stand and Summit Entertainment's Louis Leterrier thriller Now You See Me, starring Jesse Eisenberg, Isla Fisher, Morgan Freeman, Woody Harrelson and Mark Ruffalo. Steven Soderbergh's Channing Tatum-Alex Pettyfer starrer Magic Mike also got a release date on Thursday, with Warner Bros. announcing it will open the film--about exotic male dancers--on June 29, 2012. The project is based on the real-life experiences of Tatum, who stripped for nearly a year when he was 18 to make ends meet. STORY: 'Breaking Bad' Actress Betsy Brandt Joins Stripper Pic 'Magic Mike' (Exclusive) Tatum, who is also producing, will appear as the film's titular character--a mentor to the dancer played by Pettyfer. The film also stars Betsy Brandt. Also producing are Nick Wechsler, Gregory Jacobs and Reid Carolin. Related Topics Mark Wahlberg Russell Crowe

Why the 'Heinous' Experience of Going to Movie Theaters Could Kill the Film Industry

You probably don't know Bob Lefsetz, but if you depended on the decimated music business to make a living, you sure would. His free e-newsletter, The Lefsetz Letter, is required reading for label executives, A&R guys, managers, publicists, bookers, and -- oh yeah, musicians, most of whom are being forced to learn economic self-reliance now that they've been abandoned/liberated by the traditional major-label system. Day in and day out, Lefsetz preaches a simple message for surviving the digital revolution: be true to your art, give the people what they want, and let the money sort itself out. And now he's turning his attention to the movie business. There's a simple reason Hollywood has only recently begun to grapple with the kind of challenges that have been shredding the music business for a decade now: file size. Even in this current climate of technological revolution, movies take forever to download, even legally, and require a ton of space to store. For now, at least, DVDs (and enhanced cousins Blu-rays) still feel less preposterous than CDs do. It also means that -- unless you've got the patience of a monk and the hardware of a hacker -- you're probably not inclined to spend 36 hours on BitTorrent waiting for 'Fast Five' to download. But we know that digital transfers and storage get easier every day. That's a temporary respite, not a solution. And the same goes for theatrical gimmicks like 3D and IMAX. While it's true that music artists have learned to rely on live performances (and merchandise tables) for income, since you can't download a live interaction, Hollywood may be at a disadvantage on this score. Sure, movies look better on the big screen, but it's still the same movie, which means that the theater really has to slay the living room in terms of amenities, comfort, and sheer enjoyability. Does it? Take it away, Bob: Going to the movie theatre is a heinous experience. Forget the lack of focus and the sticky floors, what I hate most about the theatres is the other patrons. Who talk and text and think they're in their living rooms. Hell, that's why I want to stay home. If you're a teen and you want to neck, if you want to get out of your parents' purview, I get it. Or if you're a couple with young children. But most of us have first rate exhibition systems in our homes. We'd rather see the movies at home. But this doesn't comport with the interests of the studios and theatres, so what do most people do? STEAL THE MOVIES! And the music business taught us that this cannot be stopped. You can play Whac-A-Mole, you can piss off your customers, but you cannot win. Here at Moviefone HQ, we've been banging this drum pretty hard lately. That's because we think it's important. Last Thursday, we compiled your Top 5 reasons for not going to the movies. Now we want to know: What can theater owners do to improve the experience, and get you back to the movies? [Photo: Alamy] 5 Reasons Why You Aren't Going to the Movies See All Moviefone Galleries » Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

'Harry Potter' Dvd disks to completely disappear 12 ,. 29

Warner Bros. is putting the "Harry Potter" franchise in the vault. The studio intends to stop creating and shipping Dvd disks and Blu-sun rays of all the "Harry Potter" films to merchants 12 ,. 29 to encourage customers to snatch in the dvds before they are no more available. In 2001, Disney started making homevid releases of their popular game titles, especially animated classics like "Snow Whitened and also the Seven Dwarfs," "Bambi," "Fantasia" and "The Lion King," readily available for a restricted period of time, before putting the flicks "in the vault" for quite some time until their next re-release on disc. Disney's vaulted films are not available to buy or rent from legitimate merchants. "Pinocchio: 70th Anniversary Platinum Edition," "Snow Whitened and also the Seven Dwarfs: Gemstone Edition" and "Fantasia/Fantasia 2000: Exclusive EditionInch were put in the vault this season after in regards to a year or even more in shops. The process was the homevid same as re-delivering the flicks in theaters in short runs. The dvds WB will shelve include "Harry Potter and also the Deathly Hallows -- Part 2" and "Harry Potter: The Entire 8-Film Collection," both out November. 11. The "Harry Potter" franchise has made a lot more than $12.1 billion for WB since 2001. Which includes $7 billion in the global B.O. for Warner Bros. Pictures and $5.1 billion for Warner Bros. Home Theatre Group and Warner Bros. Interactive Entertainment. The series has been awarded with a Variety Home Theatre Hall of Fame on 12 ,. 5, which makes it the very first franchise ever awarded with a Hall of Fame because of its record-setting sales and inventive innovation. Contact Marc Graser at marc.graser@variety.com

Jake Kasdan on Bad Teacher, New Girl and the Secret to His Sexy Car Wash Scene

Ten years after working as a director and consulting producer on Freaks and Geeks, the heartwarming television series about a few misunderstood high school troublemakers (and their more wholesome peers), Jake Kasdan found his biggest box office success this summer with Bad Teacher, another project profiling a misunderstood hallway troublemaker. Starring Cameron Diaz as an English teacher more interested in smoking pot and procuring breast implants than molding the the minds of her middle school students, Bad Teacher earned over $200 million worldwide, establishing Kasdan — son of The Big Chill and Accidental Tourist filmmaker Lawrence Kasdan — as a heavyweight comedic director and rounding out a summer known for it’s R-rated, female-led comedies. On the eve of Bad Teacher’s home video release, Kasdan phoned Movieline to reflect on Cameron Diaz’s ability to play a sexy, misanthropic, car-washing schoolteacher, the possibility of a sequel and the similarities between Freaks and Geeks and his new television series, New Girl. It seems dangerous to base a studio comedy on a character as misanthropic as Elizabeth Halsey — doubly so when that character is female. Did you have any doubts about that when signing onto the project? I think that was actually part of the appeal. A lot of what was so funny about the movie to me came from that. She’s just a very unusual kind of female character in a very really unusual female comedy. Danny McBride has been able to build an entire career around those roles but it’s hard to play that kind of character without isolating the audience. What do you think made Cameron right to play this kind of character that initially hates most mankind? Well, there aren’t that many parts quite like that but it is extremely in her wheelhouse. There’s no question. She’s one of the only actresses where you feel like you really want to see her do that. Her relationship with the audience is such that they’ll have a good time watching her behave badly. Did you ever feel like, as the director, you should pull back on some of those Elizabeth-behaving-badly scenes? No. [Laughs] I never felt like we had to pull it back. I had a little bit of a joke [with the car wash scene] — it’s a big showy joke — and I just wanted to get the scene right. I spent a lot of time trying to figure out how to do it. Of course, Cameron just nailed it. I had nothing to worry about because she got what was funny about it and was the perfect person to do that. There are just not that many people that could do that joke correctly. She’s making fun of it but also making it look sincere from her character’s [point of view]. She’s so committed and beautiful and also ruthless. Was there one sexy car wash scene in movie history that inspired that? Did you look back in the film car wash archives? Well, I figured that it was more that Cameron’s character is almost mimicking the goofy, music video imagery in her head. We shot it that way I think compared to the sexy car washes of the past. I really enjoyed the exchanges between Cameron’s character and her roommate played by Eric Stonestreet, who even an hour into the movie, has no idea what she does for a living. What was the secret to making those exchanges work so well? I thought that was one of the funniest things about the script — that she has this Craigslist kind of roommate that she doesn’t really know. She moves in with him after her break-up and the character was just really funny. Eric was the perfect person to do that and he and Cameron just had great chemistry. Is there any hope for a Bad Teacher sequel? You know, I don’t think so. Probably not. I think her story is probably best left there. Most actors and directors I speak to maintain that they don’t read reviews of their films, which I have a hard time believing. Do you read reviews? A few years ago, I started trying not to. Over the course of it, you end up seeing some — I don’t think it’s necessarily the best way for me to keep track of what I’m doing. Was there one review that made you decide that? Not really. In general, I’ve been treated well by reviews and there are times when I haven’t. The truth is that I’ve come to feel like I’m better off without reading them. I always have a sense of what people are writing about them but I try not to read — especially because there are so many now. It would just be crazy-making. This summer was big for both R-rated comedies and quality female-led comedies. Have you read many comedy scripts lately that attest that this trend will continue the next few years? Well — I think it’s more that people are going to be more open to basing comedies around women, which is a great and very helpful thing. There are a lot of funny women around and the business has not traditionally been terribly informed about it so it would be great if they responded. I find it interesting that you’re creatively involved with New Girl, which stars Zooey Deschanel as this fragile, relentlessly optimistic character — pretty much the polar opposite of Elizabeth Halsey. What appealed to you about Zooey’s character Jess, especially after filming Bad Teacher? They’re really different projects but they are both things that I was drawn to because they are incredibly funny scripts built around hilarious women that I’ve always wanted to work with. Did you expect for New Girl to be embraced the way it has been? No, it’s been a great surprise that people are seeming to like it. We love making it so it’s been really fun. The same way that it seems like a dangerous idea to base a film around a misanthropic character, it also seems dangerous to build a series around a character so relentlessly bubbly. Were you worried about grounding this extremely upbeat, quirky character enough for audiences to connect? There were all kinds of things to worry about in terms of getting the character right and the stories right and getting it really funny. Zooey is pretty fantastic and people love her so we have this enormous advantage in that we have the perfect actress in our show which uses her in this great, fun way. As a director, how do you think you’ve evolved from your days with Freaks and Geeks? Well, I was really young when I was working on Freaks and Geeks. In a lot of ways, that was the experience that informed a lot of what I’ve become and I feel like every experience I have is in some way or another an extension of something that started there. Especially with TV, that was my first experience. I had never worked in television before Freaks and Geeks and New Girl is the first time since that I’ve worked on a series that is actually a series and not just a pilot. There are a lot of similarities actually between them. They have very different subject matter but the approach and storytelling is very similar. Hopefully though, I’ve gotten better since Freaks and Geeks…or at least more experienced.

At HIFF: Emily Browning Talks Controversial Sleeping Beauty and Mishandled Sucker Punch

As noted earlier, Emily Browning was among the squad of young talent to storm this year’s Hamptons International Film Festival. The Australian actress best known for Hollywood efforts Lemony Snicket’s Series of Unfortunate Events and this year’s Sucker Punch dropped by this time around for something completely different: Sleeping Beauty, writer-director Julia Leigh’s disturbing dive into the realm of somnambulistic sex work. Browning stars as Lucy, a disaffected college student scraping by on odd jobs before happening upon a madam (Rachael Blake) who supplies young women for a group of high-class patrons. In the most extreme of their scenarios, Lucy is essentially anesthetized and placed nude in bed, resulting in a succession of outre encounters that have left viewers from Cannes to the Hamptons shocked, appalled, enthralled, breathless, fleeing the theater and/or any number of combinations of each. I sat down with Browning this weekend to learn more about the film, her role, her festival experiences, and the odd conceptual link between Sleeping Beauty and the much less admirably received Sucker Punch. How was your trip into town? It’s such a long flight. I actually came from London, so it’s not too bad. But then I got in and I stood in the customs line for two and a half hours. I had such a nice flight! I slept, it was awesome. Then I got in, and then the line was just mental. And you know how it is when you’re shuffling at such a slow pace? I was a zombie by the time I got in [Friday] night. I was just not on the ball. How did the post-screening Q&A go? I don’t know how it went! I hope it went well, but honestly, I was on another planet. I think I might have been talking a bit of rubbish, but… It’s a polarizing film. What kinds of conversations have you encountered or personally had with people about this since Cannes? I think in terms of people speaking to me personally about it, their reactions have been positive. The guy who was just interviewing me said a reaction that I’ve gotten a lot, which I quite like, which is, “When I first saw it, I wasn’t sure. I didn’t know how I felt about it; it made me uncomfortable. But then it stuck with me, and now I really like it.” And I love that reaction. I think that’s great, and that’s what we want. It’s so weird when I do a Q&A, and somebody asks a question and they begin it with, “I loved the film!” I’m like, “You loved it?” That’s kind of a weird response. I know. “Already?” Yeah! I mean , when I first saw it, I was proud of it, and it worked exactly as I wanted it to. But the automatic response “I love it”? I kind of like that people have to think about it. And apparently it’s stuck with people, which is great. It’s all I could ask for. What was your own reaction the first time you saw the film? Well, I was meant to see it for the first time at Cannes. I said to my publicist and others, “I can’t do it. I need to see it before them, because I might pass out.” It was the most nerve-wracking experience. So they gave me a copy, and I watched it in bed with a bottle of vodka by myself because I was so nervous. But I was really happy with it, and it’s so rare for me to feel that about a film. I think so often the things that I’ve done have been muddled with, and I was just really happy — so happy that I watched again the next day, sober. Which was good. But yeah. It made me feel the way I think it’s meant to make people feel, which is uncomfortable and a bit squeamish. It was what I wanted it to be. Then watching it at Cannes was a different experience — with the huge screen, thinking, “Wow, I’m this giant naked person, and there are thousands of people looking at me.” It changes it a bit. So at Cannes I was sweating profusely and gripping onto Julia’s hand and kind of shaking a little bit. In discussing both this film and Sucker Punch, you’ve expressed your interest in the subject of female empowerment. But in both cases there’s objectification and exploitation going on that threatens to bury the message. Surely there must be a clearer way for you to get it across? I have to speak about the two films separately here. Sucker Punch… It’s hard for me to be objective about that film, because I had the best time working on it. I love every single person I worked with; I love Zack [Snyder, the director]. And I loved the script — how it was originally. But I think that message did get muddled a bit in terms of studio rewrites and having to go from an R to a PG-13. I can definitely see people’s complaints about that being a little bit sexist. As I said, it’s so hard to be objective, because I genuinely love that film, Sucker Punch, and being such a part of it. But I do get that. Sleeping Beauty, on the other hand… I think Lucy’s being objectified within the film, but she has what Julia calls a “radical passivity,” which is to say, “I have this understanding of this world where I’m going to be objectified, so instead of raging against that, I am going to see where it takes me. I’m going to turn the other cheek. Do your worst.” So I don’t see the film itself as being sexist in any way. Also, for me personally, as a feminist, I’m pro-sex work. And I believe that a portrayal of that — though she’s not quite a prostitute, but someone who’s in that line of work — I don’t think that’s automatically going to be innately sexist. Does that make sense? Yes. And when I say I’m “pro-sex work,” obviously there are some terrible conditions, and there are obviously horrible circumstances where people are forced into that line of work. But there are also people doing it because they want to do it, and their rights need to be acknowledged. I think that their rights need to be fought for, because that profession in itself — when it’s all done in a way that should be done, and everyone has rights and it’s safe — is a necessary and honorable profession. Drop back by Movieline closer to Sleeping Beauty’s Dec. 2 release date for our complete chat with Emily Browning, featuring more about how to act while asleep, the true cost of literally burning money, the actress’s writing aspirations and how many takes the most disturbing scene of the year required. (HInt: A lot.) And check out the rest of Movieline’s HIFF coverage here. [Top photo: AFP/Getty Images]

Is Act of Valor the Closest Thing to Military Propaganda That You Will See in Theaters?

Have you heard about Act of Valor , the upcoming Navy-approved action film starring actual Navy SEALs as Navy SEALs on a covert mission that is based on actual Navy SEAL missions? The one that totally glamorizes Navy SEAL-dom and resembles, as EW points out, a feature-length Navy SEAL recruitment video? Not yet? Well, you’re in luck, because now there’s a trailer. Act of Valor was directed by Mike McCoy (Hot Wheels: Fearless at the 500) and Scott Waugh, who previously directed the documentary short Navy SWCC. The synopsis, courtesy of Relativity Media: An unprecedented blend of real-life heroism and original filmmaking, Act of Valor stars a group of active-duty Navy SEALs in a powerful story of contemporary global anti-terrorism. Inspired by true events, the film combines stunning combat sequences, up-to-the minute battlefield technology and heart-pumping emotion for the ultimate action adventure.Act of Valor takes audiences deep into the secretive world of the most elite, highly trained group of warriors in the modern world. When the rescue of a kidnapped CIA operative leads to the discovery of a deadly terrorist plotagainst the U.S., a team of SEALs is dispatched on a worldwide manhunt. As the valiant men of Bandito Platoon race to stop a coordinated attack that couldkill and wound thousands of American civilians, they must balance their commitment to country, team and their families back home.Each time they accomplish their mission, a new piece of intelligence reveals another shocking twist to the deadly terror plot, which stretches from Chechnya to the Philippines and from Ukraine to Somalia. The widening operation sends the SEALs across the globe as they track the terrorist ring to the U.S.-Mexico border, where they engage in an epic firefight with an outcome that has potentially unimaginable consequences for the future of America. You can find Act of Valor in theaters Feb. 17. [via EW]

More Dark Knight Rises footage hits the net

Starring Wally Pfister as DP and Christopher Nolan as The Man, this Dark Knight Rises footage shot in downtown Los Angeles is the best we've seen for a while.Chris Nolan's shoot currently includes plenty of cop cars, Bat vehicles and moody shots of the Dark Knight wandering down an alley in what looks like the wrong part of town (is there a right part of town in Gotham?).Plus, awesome Gotham Police Department SWAT truck. Want!

The One Thing

Mary Elizabeth Winstead and Joel Edgerton star in Universal's remake of 'The Factor.'A Universal release given Morgan Creek Prods. of the Strike Entertainment production. Created by Marc Abraham, Eric Newman. Executive producers, J. Miles Dale, David Promote, Lawrence Turman, Gabrielle Neimand. Directed by Matthijs van Heijningen. Script, Eric Heisserer, in the story "Who Goes There?" by John W. Campbell Junior.Kate Lloyd - Mary Elizabeth Winstead Braxton Carter - Joel Edgerton Dr. Sander Halvorson - Ulrich Thomsen Adam Goldman - Eric Christian Olsen Jameson - Adewale Akinnuoye-Agbaje Griggs - Paul Braunstein Edvard Wolner - Trond Espen SeimFar less chilling than versions from 1951 and 1982, Universal's latest undertake "The One Thing" a minimum of includes a strong lead thesp in Mary Elizabeth Winstead, employed for that studio's bid to show an account of ice-cold macho paranoia right into a beauty-versus.-animal surprise a la "Alien." Aside from Winstead's flamethrower-carrying paleontologist, fearlessly fighting an extraterrestrial menace that hides inside its human prey, this unfrighteningly icky "Factor" is memorable mainly for illustrating CGI's gross inadequacies in accordance with old-fashioned makeup f/x. Chilly person to person will not help U to contaminate the B.O. for considerably longer than the usual weekend. Strangely enough crediting the 1938 story "Who Goes There?" as opposed to the 30-year-old pic it superficially resembles, the brand new "Factor," helmed beginning with-timer Matthijs van Heijningen, nods deferentially to John Carpenter's still-frightening cult film while exhibiting little idea of what managed to get work (and bearing no relation whatsoever to producer Howard Hawks' early '50s classic). As with the Contractor version, humans here play host to alien cells that turn your body thoroughly, departing the look although not the identity from the original. Ironically, the 2011 film follows an identical pattern, parasitically resembling a geniune form in most respects save soulfulness. Occur frigid Antarctica circa 1982, van Heijningen's movie opens with three Norwegian scientists meeting their demise when their transport vehicle doesn't happen the ice. Coming having a bigger Norwegian team to research, independent-minded Dr. Kate Lloyd (Winstead) finds herself subordinate to Dr. Sander Halvorson (Ulrich Thomsen), whose rash urge to consider a tissue sample of the mysterious organism -- a gigantic animal hidden in ice -- leads to the creature visiting existence, causing bloody havoc and sneakily infecting individuals within the team's remote outpost. Van Heijningen reduces the sooner films' claustrophobic tension in a variety of ways, most famously by permitting his figures a possible escape hatch via several fueled automobiles. Still, people from the team, particularly Kate, feel they cannot leave the outpost before separating the viral threat, that could be churning inside one. Carpenter's unnerving way of outing an infected human -- with hot copper wire dipped right into a suspicious person's bloodstream sample -- is here now changed through the clever but frightless conceit of checking your teeth for teeth fillings that the one thing can't copy. The greatest impediment to horror, though, may be the pic's lackluster CG work, which does not hold a candle (or flamethrower) to Take advantage of Bottin's disgustingly innovative and completely credible f/x from 30 years back. As before, chests burst, entrails twist and snap like cracked whips, and physiques morph into spidery monsters, however the digital strings show, and also the overall effect pales beside those of Bottin's makeup-based mixtures. Humanity stands like a highlight from the first couple of "Factor" films, although not here. Winstead ("Scott Pilgrim versus. the planetInch) radiates intelligence within the Kurt Russell/Kenneth Tobey role, yet her take-charge paleontologist-switched-torch-wielder appears seriously underwritten in the get-go. Joel Edgerton ("Warrior") eventually emerges like a co-star due to his character's survival beyond the pic's second act, although he's given little to complete besides look worried he might not be themself any longer. Thomsen's domineering investigator basically glowers, while other figures are nearly indistinguishable as well as the order of the contagion. Ennio Morricone's spare synth score of '82 is briefly heard inside a film that's about expedient replication.Camera (color, Panavision widescreen), Michel Abramowicz editors, Julian Clarke, Peter Boyle music, Marco Beltrami production designer, Sean Haworth art director, Patrick Banister set decorator, Odetta Stoddard costume designer, Luis Sequeira seem (Dolby Digital/Datasat Digital/SDDS), Glen Gauthier supervisory seem editors, Scott Hecker, Elliott L. Koretz re-recording mixers, Jon Taylor, Bob Beemer visual effects supervisor, Jesper Kjolsrud visual effects, Image Engine stunt coordinator, Ron Forsayeth assistant director, Shaun Authors second unit director, Clay Staub second unit camera, David Franco casting, Denise Chamian, Angela Demo. Examined at AMC Southdale 16, Edina, Minn., March. 11, 2011. MPAA Rating: R. Running time: 103 MIN. With: Kim Bubbs, Jorgen Langhelle, Jan Gunnar Roise, Stig Henrik Hoff, Kristofer Hivju, Jo Adrian Haavind, Carsten Bjornlund, Jonathan Lloyd Master. (British, Norwegian dialogue) Contact the range newsroom at news@variety.com

Taylor Quick Named Billboard Lady of the season

Taylor Quick, the 4-time Grammy champion and greatest selling albums artist in a genre within the last 12 several weeks, continues to be selected to get the coveted Lady of the season Award in the 2011 Billboard Women in Music event on 12 ,. 2 in NY City.our editor recommendsIt's Official: Taylor Quick Sells Over a million Albums per week The 21-year-old singer-songwriter may be the youngest artist to ever get the recognition, also it occurs the heels of generating several 2011 Billboard Music Honours, included in this Top Country Album for that five-time platinum selling Speak Now. Quick has spent yesteryear year around the Speak Now World Tour meant for her third album, which first showed last October atop the Billboard 200, selling on the million copies in the first week. All 14 tracks around the country-pop juggernaut were composed by Quick, and she or he made Hot 100 history by planning 11 tunes from the album in one week. PHOTOS: Taylor Quick Turns 21 The Pennsylvania native can be used to breaking chart records and presently holds another Hot 100 record for many top ten debuts, with seven. Her self-entitled debut, launched in 2006, supports the recognition of longest-running album in Billboard 200 since 2000. She adopted that up in 2008 with Courageous, a significantly acclaimed set that established her like a skilled songwriter along with a procurer of hits, including "Love Story," "You Belong Beside MeInch and "Whitened Equine." Quick's Courageous may be the longest-running No. 1 album with a female country artist in 200 history. Not remarkably, the 6-occasions platinum Courageous is easily the most granted album in new bands background and her overall worldwide sales now exceed 20 million albums and 40 million song downloads. Again, she's only 21. PHOTOS: 2011 Billboard Music Honours "Taylor has proven the energy of excellent songwriting with music which has transcended genres, and that we're thrilled to identify all her achievements in the last year by praising her using the Billboard Lady of the season Award," states Bill Werde, Billboard's Editorial Director. "In the youthful chronilogical age of 21, Taylor has designed a major effect on music and it has been an amazing role model for ambitious performers/songwriters and youthful women everywhere. I anticipate watching her career still achieve the a long time.Inch She's presently nominated for six 2011 CMA Honours including Performer of the season, and it is preparing the November discharge of the Compact disc/DVD and Compact disc/Blu-ray teams of her Speak Now World Tour. Quick is really a devoted and prolific philanthropist too, and it has given her some time and efforts to boost money for causes varying from water that is clean to literacy to disaster relief. She personally contributed $a million to to non profit organizations previously year alone. Billboard's annual Women in Music Event, now in the sixth year, remembers probably the most effective and gifted women within the music business, coinciding using the publication of Billboard's Women in Music Energy Gamers list. This season's event is going to be happening on Friday, 12 ,. 2 at Capitale in NY City. This past year's recognition visited Black Eyed Peas singer, Fergie. Related Subjects Taylor Quick

Box Office Report Card: The Greatest Flops recently Summer time

While September introduced record grosses of $602.six million in the United States box office -- fueled by unlikely heroes such as the Lion King, Contagion and also the Help -- the month was full of disappointments, following a similarly sobering August.our editor recommendsBox Office Surprise: 'Lion King' Set being No. 3 Animated Pic ever Because of Re-release'Lion King' Shoots to list out of Top Ten Grossing Films of-Time Locally PHOTOS: Late Summer time's Box Office Flops 2011 Genre photos, commonplace recently summer time and early fall, were toughest hit. Many will recoup their costs because of foreign presales and worldwide earnings others won't. Many box-office experts say there have been way too many films competing for the similar moviegoers. Area of the problem may be the challenge faced by new midrange marketers in arranging films -- they don't wish to venture out within the warmth of summer time and contend with large-studio fare. That's not saying there weren't large-studio misses, too. Your budget figures listed at right don't include marketing stays, which easily start at $20 million for any wide release in The United States. From Conan the Barbarian as to the's Your Number, click to see precisely how poorly the late summer time's box office disappointments worked out. Related Subjects Box Office

The Vampire Journals Casts Alice Evans as Original Mother

Alice Evans Alice Evans is placed to guest-star because the mother from the Original family around the Vampire Journals, TVGuide.com has learned. Fall Preview: Get scoop on all of your favorite coming back shows Evans, who particularly performed a youthful Eloise Hawking on Lost, is going to be introduced as Esther via flashbacks in Episode 8. Once we formerly reported, the smoothness is really as fierce and strong as Klaus (Frederick Morgan), but she's more into safeguarding her family. Evans joins other people from the original family, including Klaus, Elijah (Daniel Gillies) and Rebekuh (Claire Holt). Evans has additionally made an appearance on Siblings & Siblings. The Vampire Journals airs Thursdays at 8/7c around the CW.

Matt's Guide to Tuesday TV: A Glee High Note, New Girl, and More

Idina Menzel, Lea Michele WHEN YOU'RE A GLEEK: (Apologies to the "Jet Song," as we prepare our audition for West Side Story - or in Kurt and Blaine's case, West Hollywood Side Story?) The best way to enjoy Glee these days is to accept and even when possible to embrace its imperfections. Kind of like the way the characters get past their own perceived shortcomings and insecurities to embrace their inner star. (Just watch Mercedes blossom this week into full-blown diva mode, for better and inevitably for worse. It's pretty thrilling.) You can tell, from last week's and especially this week's impressive "Asian F" episode (Fox, 8/7c), that Glee is trying awfully hard to improve from the mess of last season. The music is better integrated into story, the story is better integrated into character, and sometimes the characters even make sense.This is one of those rare Glee episodes where the focus is shared among many of the players, including a very touching major subplot for the usually mute Mike Chang (dancer extraordinaire Harry Shum), who finds his voice while struggling with high parental expectations that refuse to acknowledge his dream. We also get Brittany taking center stage in her (typically improbable) "Run the World" campaign for class president with a "girl power" anthem, Mercedes emerging into the "Spotlight" at last, and on the domestic front, Will and Emma finally confronting her neuroses head-on, providing Matthew Morrison a welcome solo turn that's awfully warm for a Coldplay. It's not a perfect episode - Glee is never perfect, and it would be a lot less interesting if it were - but a few melodramatic twists aside, this is classic Glee: performed from the heart and the soul.Want more fall TV news? Subscribe to TV Guide Magazine now!HERE COMES THE JESS: Hot on the heels of last week's full-season pick-up, Fox's New Girl (9:01/8:01c) gives us another example of why this charming comedy is an instant winner. This time, it's Jess (Zooey Deschanel) who's out there supporting one of the guys, instead of the other way around. Her task is to escort the heartsick Nick (Jake Johnson, pathetically funny) to a wedding, in hopes of easing the sting should he run into his beloved ex. To pull this off, she must "suppress the Jess," which is easier said than done, not to mention impossible. Bouquets to this show.AND THAT'S THE TRUTH: Even if you don't remember Edith Ann or the other Laugh-In characters that put her on the map, Lily Tomlin is a bona fide legend - and now she's part of the NCIS family. McGee's family, to be precise. Tonight (CBS, 8/7c), in the stunt casting of the week, she plays the former probie's grandmother, who's implicated in the murder of a Navy lieutenant. It's just a shame that Henry Gibson isn't still around to recite a poem for the occasion.IN HIGH GEAR: FX's Sons of Anarchy (10/9c) is having a strong fourth season full of potent conflict within and without the motorcycle club, and tonight's eventful episode delivers plenty of red meat on all fronts. I'm especially drawn to the core conflict represented by the late John Teller's revealing letters, which Clay and Jemma are desperate to retrieve and destroy. But this week also offers a deliciously sleazy cameo by David Hasselhoff as a porn producer-director who delivers an outrageous line that's bound to become part of the "Hoff's" canon. And poor Juice (Theo Rossi) has reason to panic when the relentless Sheriff Roosevelt tightens the pressure on him to betray his brothers, lest his own racial secret gets out.So what else is on? ... Discovery launches a new channel, Velocity (replacing HD Theater starting at 7/6c), targeting upscale men with programming that focuses on sports, leisure, travel, adventure and, on opening night, the automotive world, with original episodes of Motorweek, American Icon, What's My Car Worth?, Chasing Classic Cars and Inside West Coast Customs (sense a trend there?) ... While Chaz Bono breaks transgender ground on Dancing With the Stars, ESPN Films looks back to a pioneering transgender athlete in Reneé (ESPN, 8/7c), a documentary profile of Reneé Richards, who fought in the '70s to be accepted in the tennis world after her gender reassignment. ... The final chapter of Ken Burns' intoxicating Prohibition docu-miniseries (PBS, check local schedules), titled "A Nation of Hypocrites," takes this so-called "Noble Experiment" to its natural conclusion: repeal. ... For fans of mock news, a new season of Onion News Network (10/9c) begins with the end of the world, as ONN bravely stays on the air to report the impending doom of the planet from an asteroid hurtling our way. Hey, as long as it shuts the pundits up.Subscribe to TV Guide Magazine now!

Harry Potter and the Deathly Hallows Full Movie

Broadway keeps belief

Unlike previous years, Broadway loved a lift as "It of Mormon" rang within the Jewish Year with another record-breaking week. Remember once the Jewish holidays accustomed to mean a dip in Broadway sales? Not this season. Although Rosh Hoshanah fell on Thursday, overall Rialto sales upticked, with devoted auds still turning out for an additional record-breaking week at "It of Mormon" along with a crowd of converts keeping "Follies" over the $a million mark. The week's total, up about $275,000 to $18.7 million for 22 shows running, had some experts wondering when the traditional dip for that Jewish holidays was more an item of once the holiday fell throughout the month -- early September always being tougher for Broadway overall than late -- than from the holiday itself. Or possibly sales were stored aloft simply by family auds freed up by school closings. "Mormon" ($1,310,226), topping another box office milestone in the Eugene O'Neill Theater, and "Follies" ($1,132,226) were a couple of six shows to stake out a place within the riches club a week ago. Generally, the majority of the Street's top earners saw sales rise while individuals in the center of those -- including "Priscilla Full from the Desert" ($765,738) and "Memphis" ($722,193) -- dipped, although no slowdowns by individual shows were dramatic. Among plays now in previews, "Relatively Speaking" ($664,407) -- the trio of 1-functions by Woodsy Allen, Ethan Coen and Elaine May -- ended up by about $50,000, possibly since the curiosity factor pressed some theatergoers to earlier previews. "The Mountaintop" ($584,897) performed a complete eight perfs versus. five the last frame, posting solid otherwise stellar sales for any show starring large-title thesps Angela Bassett and Samuel L. Jackson. Out of the box the situation with many Broadway plays, both shows, along with the Roundabout's nonprofit revival of "Guy and Boy" ($216,636), expect a lift from reviews, since playgoing auds remain the rare demo to become particularly swayed by critical opinion. Contact Gordon Cox at gordon.cox@variety.com

George Harrison: Living in the Material World: Telluride Film Review

It's a wonder how he does it, but somehow between making The Departed and Shutter Island and Boardwalk Empire and Hugo and all his assorted other projects, Martin Scorsese has found time to create another epic music documentary. Comparable to his 2005 No Direction Home: Bob Dylan in length, scope and comprehensiveness, George Harrison: Living in the Material World proves nearly equally rewarding, even if its subject doesn't necessarily compel the same sort of automatic anticipatory excitement. Extraordinary footage from both the Beatles era and post-'60s period, along with revelatory, often beguiling commentary from a host of intimates and a treasure trove of musical delights, combine to create a personality portrait of welcome depth about a musical giant who often seemed to stand a bit in the shadows of his more exuberant peers. After festival exposure in Telluride and NY, this richly satisfying, two-part, experience will be available to viewers on HBO beginning Oct. 5.our editor recommendsCANNES: Martin Scorsese and Olivia Harrison discuss their in-progress documentary about George HarrisonTelluride Lineup Features 'A Dangerous Method,' 'The Descendants' and 'Shame' Scorsese doesn't try to make a case either for Harrison being as an important an artist as Dylan or his band mates John Lennon and Paul McCartney, or for his having been somewhat neglected. But that the film entirely commands full attention for 209 minutes is itself testimony not only to its quality but to the idea that the public may have underestimated this old schoolmate of Paul's whose voice wasn't that great, who wasn't as cute as the other two original Beatles, didn't contribute many songs at first and got into that weird Indian sitar stuff but had perhaps the most diverse and unusual life journey of any of them. PHOTOS: Telluride Film Festival: 12 Movies to Know Opening with fantastic World War II English victory celebration footage that's new at least to American eyes, the film zooms through the subject's Liverpool youth ("He was cocky," one of his brothers avers) to the point where George, at 17, went to play in divey Hamburg clubs with the original configuration of what was to become The Beatles. Wonderfully intimate interviews with Klaus Voorman and, especially, his then-girlfriend Astrid Kirchherr, who took striking early photographs of the lads, bring those grungy, heady days poignantly alive. Then Beatlemania hits, with first-hand descriptions by Ringo Starr providing an inside feel to a cascade of what, again, is not overly familiar footage. Joan Taylor, wife of the group's press officer, amusingly describes the boys' first acid trip-done, per Paul, in an environment of "controlled weirdness"--although George claims on an excerpted Dick Cavett Show appearance that they didn't know they were taking LSD the first time they had it. Whereas India, Maharishi Mahesh Yogi and the sitar were essentially passing fancies for the other Beatles, for George they became staples of his life, with Taylor suggesting that, for him, spirituality and meditation provided a route to meaning and the inner self beyond chemicals. Musically, the Eastern diversion, which occupies a fair amount of screen time, still seems just that, a sort of experimental dead end when grafted onto Western pop, but George's sincere dedication to it is undoubted. Part One, which runs 94 minutes, ends with Yoko Ono making her entrance upon the scene and tension mounting to a point that, per Harrison, "was stifling us. It had to self-destruct." Nothing less than "My Guitar Gently Weeps" would do to bring this chapter to a close. For some time, George had quietly been stockpiling songs (some of which had been rejected by John and Paul), which explains how, after The Beatles broke up, he was able to so quickly come out with a triple album, "All Things Must Pass," loaded with great material. What follows in the 115-minute Part Two is variously exhilarating (the Concert for Bangladesh, The Traveling Wilburys), bizarre (Eric Clapton's obsession with George's wife Pattie, whom he eventually married, an interlude described by Clapton in rather defensively jokey fashion), idiosyncratic (George's purchase of an enormous Victorian estate) and illustrative of his increasingly diverse interests (his outlay of $4 million to rescue Monty Python's Life of Brian from cancellation and the creation of the enterprising HandMade Films, his close friendship with Formula 1 driver Jackie Stewart). PHOTOS: Venice Film Festival: 10 Movies to Know One major coup is a rare, amply sampled interview with Phil Spector, obviously made before his 2009 murder conviction. A producer on "Let It Be," "All Things" and "A Concert for Bangladesh," Spector is sometimes hilarious and even more often insightful, a real plus for the documentary. George's second wife Olivia gradually enters the frame (she is one the film's three producers), then comes the troubled end, with recurring illnesses aggravated by the shocking home invasion and physical assault that may have considerably shortened his life. Editor David Tedeschi, who also cut the Dylan film, surely shouldered an enormous share of the responsibility for organizing the voluminous and diverse material that comprises this vast tapestry, to an end result that is consistently engaging and vital. Some construction seems puzzling--no sooner are the youngsters in Liverpool introduced at the outset than the film jumps momentarily to The Beatles breaking up, there's scarce mention of the lads' film work (might this not have helped spur George's later entry into the film business?) and family and other personal details are sketchily presented at best. But, then, if you want every i dotted and t crossed, you should read a biography; here is the man himself, reticent, cagey but open to life, his mind occupied with many things, and his music and friends as well, all up on the screen. It's not a film one particularly expected to be made but it's a vastly welcome one. Venue: Telluride Film Festival Opens: October 5-6 (HBO) Production: Spitfire Prods., Sikelia Prods., Grove Street Prods. Sales: Exclusive Films Intl. Cast: Eric Clapton, Terry Gilliam, Eric Idle, George Martin, Paul McCartney, Yoko Ono, Tom Petty, Phil Spector, Ringo Starr, Jackie Stewart, Harry Harrison, Pete Harrison, Klaus Voorman, Astrid Kirchherr, Joan Taylor, Pattie Boyd, Ken Scott, Jane Birkin, Neil Aspinall, Mukunda Soswami, Billy Preston, Jim Keller, Olivia Harrison, Ray Cooper, Dhani Harrison Director: Martin Scorsese Producers: Olivia Harrison, Nigel Sinclair, Martin Scorsese Executive Producer: Margaret Bodde Editor: David Tedeschi Running time, 209 minutes Martin Scorsese International Telluride Film Festival George Harrison: Living in the Material World

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