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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