Olivia Olson and Thomas Brodie-Sangster, 'Love Actually' Kid Couple, All Grown Up

If you're tired of watching 'A Christmas Story' (and you should be; that is one overrated holiday classic), perhaps turn your Dec. 25 viewing to 'Love Actually.' The Richard Curtis-directed super romcom has become a holiday tradition for many, despite being what could be generously described as awfulsome. "One of the things I love about that movie is the fact that so many of the people have become so much more famous," Curtis told Moviefone when asked about 'Love Actually' and its sprawling, all-star cast. "In fact, the movie is not what I intended. Originally, when I made the movie, it was meant to be 50 percent unknown cast. But Martin Freeman is very famous. Keira Knightley is very famous. Chiwetel Ejiofor is very famous. Andrew Lincoln is doing 'The Walking Dead.' It looks like I was only casting famous people, which wasn't my intention at all." Two of those then-unknowns were Thomas Brodie-Sangster and Olivia Olson, Sam and Joanna, the young couple that connects during the airport-security flouting finale. Now 21 and 19, respectively, Brodie-Sangster and Olson are still working as actors. Brodie-Sangster appeared in the 2009 film 'Nowhere Boy,' and both he and Olson featured on the animated series 'Phineas and Ferb.' So, what do they look like now? Shockingly, like older versions of their adorable 'Love Actually' lovebird selves! TMZ unearthed a picture of Olson from August, and Moviefone found a pic of Brodie-Sangster under the tree this morning as well. Check them out below. Adorbs! Watch Sam chase Joanna down below. 'Love Actually,' 4eva! Follow Moviefone on Twitter Like Moviefone on Facebook

'Prometheus' Poster Promises Mystery, 'John Carter' Promises Action

The initial two "Alien" movies are sci-fi classics, so you will notice that many of us wanted Ridley Scott's "Prometheus" being related for some reason. Indeed, it's -- you'll find "strands of DNA" floating around inside the film that'll emerge next summer season, while not other things. That seems okay using the first official poster, you will notice enough mysterious sci-fi goings on without composed of the dense "Alien" world. Have a look at this poster (additionally to a different "John Carter" poster) following a jump! There is not much to find out besides the outline from the explorer laid against an enormous mind, nevertheless it perfectly sets a bad tone for adventuring inside the deepness of space. The cast is sneaky full of stars, too -- Michael Fassbender, Noomi Rapace and Charlize Theron, only to title a few. We're not able to watch out for next June to look for the way everything plays out. However, the completely new "John Carter" IMAX poster inhabits one mood: intense. There's Taylor Kitsch chained up in a few gladiator pit, running from two yeti/hippopotamus compounds getting a panicked look on his face. Maybe he's realizing the chain is just too short, or by using no key "of Mars" subtitle, nobody knows what this movie's apt to be about apart from a few things: Taylor Kitsch and yeti/hippopotamus compounds. (All due respect, "John Carter" might be the title from the imaginary secondary school basketball coach who trained his team the best way to respect itself, or possibly a biopic in regards to the guy who invented eyeglasses. Alas, that's how a marketing game goes!) Reveal everything you consider the completely new posters inside the comments section and also on Twitter!

Simon Cowell: I Considered Getting Intimate With Paula Abdul

First Launched: December 14, 2011 10:19 PM EST Credit: Access Hollywood Caption Simon Cowell and Paula Abdul speak with Access Hollywoods Billy Rose rose bush in La on December 6, 2011LOS ANGELES, Calif. -- Simon Cowell has finally recognized he considered once getting intimate with Paula Abdul. On Barbara Walters ten best People, which broadcast on Wednesday evening, she asked for the X Factor judge how a relationship has changed involving the pair over time, which quickly switched to talk from the between-the-sheets romp. We didnt like each other in the beginning, Simon mentioned, adding, It had been sexual tension on her behalf account part. They wanted you? Barbara asked for. Countless percent, Simon mentioned. What went lower? Perhaps you have want her? Barbara asked for. I considered it, Simon recognized. However figured, I dont think the after might be much like before. Barbara then asked for Simon if he felt by doing this as they didnt desire to awaken along with his fellow X Factor judge. Id permit her to stay for just about any handful of several hours, nevertheless it will have to be, Evening, he jeered. Nevertheless it appears Simon hasnt completely shared his one-time fantasy with Paula. If you're watching Paula, it's true, Simon mentioned. Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

SAG Honours Nominations Introduced

The Help leads individuals with four nodsJust monthly . 5 to go to before one of the primary large occasions inside the Hollywood back-patting season begins - The ScreenActors' Guild honours, happening around the month of the month of january 29, 2012.Today they revealed their longlist, featuring all the nominations in TVand film.You will find the film nods here below, and when you're following a TVlist too, you almost certainly best mind for his or her website, where everything can be found in full.For what exactly could be learned using this list, it seems the artists-only gongs the SAG hands out every year are favouring The Help, with four nominations under their collective belt.Elsewhere, you'll find some expected nods, for instance Meryl Streep for your Iron Lady, additionally with a enjoyable surprises as Melissa McCarthy acquiring some advice in the cap on her behalf concentrate on Bridesmaids.This list itself:Outstanding Performance Having A Cast In The Motion PictureBridesmaidsThe ArtistThe DescendantsThe HelpMidnight in ParisOutstanding Performance Having A Male Actor In The Leading RoleGeorge Clooney, The DescendantsDemian Bichir, A Far Greater LifeLeonardo DiCaprio, J. EdgarJean Dujardin, The ArtistBrad Pitt, MoneyballOutstanding Performance Having A Female Actor In The Leading RoleMichelle Williams, My Week With MarilynGlenn Close, Albert NobbsViola Davis, The HelpMeryl Streep, The Iron LadyTilda Swinton, We must Discuss KevinOutstanding Performance Having A Male Actor In The Supporting RoleNick Nolte, WarriorKenneth Branagh, My Week With MarilynArmie Hammer, J. EdgarJonah Hill, MoneyballChristopher Plummer, BeginnersOutstanding Performance Having A Female Actor In The Supporting RoleOctavia Spencer, The HelpBerenice Bejo, The ArtistJessica Chastain, The HelpMelissa McCarthy, BridesmaidsJanet McTeer, Albert NobbsOutstanding Performance Having A Stunt Ensemble In The Motion PictureThe Adjustment BureauCowboys & AliensHarry Potter as well as the Deahtly Hallows: Part IITransformers: Dark in the MoonX-Males: First ClassThe ScreenActors' Guild honours will occur around the month of the month of january 29 2012.

When Pigs Have Wings (Le Cochon de Gaza)

A Studiocanal release of a Marilyn Prods. presentation of a Marilyn Prods., Studiocanal, Barry Films, Saga Film, Rhamsa Prods. production, in association with Canal Plus, Orange Cinema Series. (International sales: Studiocanal, Paris.) Produced by Franck Chorot. Directed, written by Sylvain Estibal.With: Sasson Gabay, Baya Belal, Myriam Tekaya, Gassan Abbas, Khalifa Natour, Lofti Abdelli, Ulrich Tukur, Khaled Riani, Uri Gabai, Ido Shaked, Thierry Lopez. (Arabic, Hebrew, English, French dialogue)Neither kosher nor halal, the unusual catch of a Palestinian fisherman is the source of quite a few chuckles in the Euro-financed, Gaza-set "When Pigs Have Wings." French novelist-turned-director Sylvain Estibal's first feature lacks, somewhat ironically, a clear dramatic structure, though a humanistic perf from thesp Sasson Gabay ("The Band's Visit") and a combo of gentle situational comedy and light sociopolitical critique partially compensate for the story's tendency to ramble. Limited fall release did respectable numbers in Gaul, and the marketing-ready premise could generate niche biz elsewhere. Penniless piscator Jafaar (Gabbay) finds a pig in his nets, and his chronic poverty dictates that he find a buyer for the unclean beast, though that's easier said than done. Jafaar tries a variety of options, which include taking it to the U.N., selling its sperm and, somewhat bizarrely, performing an unexpected stint as a suicide bomber. All are played for gentle laffs, though Jafaar's rapport with his wife (Baya Belal) and the Israeli soldiers (Ido Shaked, Thierry Lopez) on their roof inject a welcome sobering note. Below-the-line credits, including a simple but effective score, are on the money.Camera (color), Romain Winding; editor, Damien Keyeux; music, Aqualactica, Boogie Balaban; production designer, Albrecht Konrad; costume designer, Marie-Josephine Gracia. Reviewed at Brady Theater, Paris, Nov. 18, 2011. (In Tokyo Film Festival -- competing.) Running time: 98 MIN. Contact Boyd van Hoeij at news@variety.com

Sharon Stone, Juno Temple Join 'Lovelace'

Attention galleries: are you currently searching for a good deal superstar? What about Billy Burke or Taylor Lautner as well as -- yes -- The Actor-brad Pitt or Meryl Streep? While these names aren't usually connected with using the word "cheap," they are, because of Forbes' Best Stars for that Buck countdown. To compile their email list, Forbes added up movie stars's salaries using their last three non-animated films, then in comparison by using the entire operating earnings from all of individuals movies. It makes sense just how much the studio makes for good dollar the actor will get compensated. So, who's the greatest bargain? Billy Burke sits within the top place, together with her films generating $55.83 for each dollar she's compensated. (Thanks, 'Twilight' franchise.) Hathaway As Catwoman reaches No. 2 -- mainly due to her role within the enormous box office hit, 'Alice in Wonderland' -- together with her films calculating $45.67 for every dollar. At No. 3 is Stewart's 'Twilight' co-star, Taylor Lautner, having a $39.43 average. With No. 4 goes to Daniel Radcliffe, having a $34.24. The whole list, that also features The Actor-brad Pitt and Meryl Streep, could be read here. Time for you to bust out individuals checkbooks Hollywood! [via Forbes and THR] [Photo: GF/bauergriffinonline.com] Follow Moviefone on Twitter Like Moviefone on Facebook

Ask Matt: Vampire Diaries, Dexter, Glee, the TV Laugh Track, and More!

Nina Dobrev Question: As we approach the annual barrage of year-end Top 10 lists, I'm dreading the fact that one worthy, excellent TV show will be overlooked by most critics: The Vampire Diaries. Don't get me wrong, I love Breaking Bad and Game of Thrones as much as any sane person, but I also think TVD is one of the most expertly paced, perfectly plotted shows on TV right now. Unfortunately, I don't think many professional critics bother to watch it, though they'll analyze lesser shows like True Blood and The Walking Dead just because of the networks they air on. Even if critics don't think The Vampire Diaries is Top 10 worthy, I think it at least deserves to be part of the year-end conversation. Why is it so hard for a show like this to be taken seriously? - DonnieMatt Roush: I like Vampire Diaries and probably give it more consideration than many critics do - just try sitting through Secret Circle afterward, and you instantly appreciate how much more enjoyable TVD is - and I do appreciate its breakneck (often literally) pace and what-next plotting. But this is one of those shows I classify as more of a "guilty pleasure," and while I can enjoy the over-the-top twists and turns, it just doesn't feel serious enough as a supernatural drama for me to take it terribly seriously. There is a CW factor at play here as well, I'm sure, because we're being asked to believe these characters are still in high school, plus the various authority figures are so shallow, and Mystic Falls seems to have at least one major social event every week where someone ends up dead or missing. True Blood is just as campy, and though I felt it had its best season this year since the first, it's not really Top 10 material, either. The Walking Dead earns points for its graphic ruthlessness, and I wasn't nearly as bored on the farm as others seemed to be. But the only sci-fi/fantasy type show making the cut on my Top 10 list this year (which will be published in the issue on stands next week - and online at some point) is Fox's Fringe, which not only blew me away with its creative ambition and worlds-colliding risk-taking, but actually made me care for Peter and Walter Bishop and the various versions of Olivia Dunham. Nothing derivative or silly about that show.Want more fall TV news? Subscribe to TV Guide Magazine now!Question: I know some people are not crazy about Dexter this year. However, honestly, I absolutely love it. I thought last year was horrible - Deb decided to let the killer(s) go? Come on! - and this year is more exciting to me, just because of how "character"-driven it is with every character on the show. Obviously from Dexter with his faith and the "light" and the "darkness" factor, to Deb with her relationship problems with her therapist, to Quinn with his downslide after Deb broke up with him. Plus side storylines with the closed case that Deb reopened, to the Ice Truck Killer hand that the geek stole and now in his house! A lot going on this year and I am enjoying it more than I did last year! With that being said, I did not see that twist coming with Gellar! Some people say they did, others say they did not. Either way it made last week's episode even better! Any chance you know any spoilers regarding the finale and when does it air? Because last year's finale was terrible. - MichaelMatt Roush: The Professor Gellar reveal really was one of the biggest red herrings anyone has tried to pull off in a long time. I'm on board with it, especially because Colin Hanks is having such a field day now, so I do agree this season is better than last year's - though they're all going to pale compared to the fourth season with John Lithgow's "Trinity Killer," and I really enjoyed the episode this season where Dexter went to Nebraska (with the shade of his brother in tow) to clean up some loose ends with that story. The subplots involving Dexter's co-workers aren't jazzing me any more than they ordinarily do, but now that we know (after Sunday's episode) that Doomsday's endgame is targeting the Miami Police Department, I'm hoping for some meaningful mayhem on that front. Beyond that, I have no spoilers - that's not what I do in this column - but I can tell you the season finale is in two weeks, Sunday, Dec. 18. And the buzz is that there will be some game-changers as the show heads into what will likely be its final two seasons.Question: I'd become disenchanted with Glee this season. With a season of, for me, a plethora of must-see broadcast TV, I had to cut some of the shows I watch and/or tape for later viewing, and Glee was one of them. Last week, with so many repeats, I once again watched it, and was blown away by the music. Coach singing "Jolene," Santana singing anything, Finn, Puck and his "teacher," the baby's adopted momma (isn't he supposed to be under 18, and is this "grounds" for her once again taking her golden voice and leaving the show?), had me once again entranced, and thinking the music was worth sticking around for. But after the show ended, I wondered. I always loved the music - or most of the time; toward the end of last season, not always - and thought that far outweighed the lack of story, but is it enough to bring me back? Is it enough to bring back many viewers that have dropped the show? I'm on the fence. What about Fox? Are they going to "hold em, or fold em"? And what about you? Are you still in the stick-around mode? I'd really like to know your thoughts on a matter you might feel you visited one too many times. - DorothyMatt Roush: As aggravating and uneven as Glee can be, I doubt I'll ever drop it. The highs, musical and otherwise, are still stimulating enough to get me through the more cringe-worthy stuff (like Sue's behavior and Kurt's outfits), and I've always been a believer that there should be a show like this on TV - which is why I'm also high on NBC's upcoming Smash, a much less problematic series creatively from the get-go, though its commercial appeal has yet to be determined. Despite Glee's ratings decline this season, it's far from the point of cancellation. It still has enough young-demographic appeal and watercooler potential to be of value to the Fox brand. But whether Glee can win back those it has alienated or frustrated is a tougher call. Once people break up with a show, and Glee has given fans plenty of reasons to do so (especially last season), it can be hard to win them back, regardless of what's on the playlist. On a similar note ...Question: Wow, last week's episode of Glee blew me away! It reminded me of the first season and why I watched it to begin with. I normally fast-forward during the songs or awkwardness that make me cringe, which recently has been more than once an episode. Not so this episode, but my question for you: Do you think the crazies that were up in arms over the episode where teenagers very tastefully lost their virginity will be as offended with the fact that Puck and the teacher got it on? I'm willing to bet no, and I'd love to hear your professional opinion on why that is. - DanMatt Roush: So far I'm not aware of any uproar from the usual circles - in particular, one self-promoting organization that will go unnamed that most recently took credit for the apparent demise of Fox's low-rated Allen Gregory, as if its lack of quality or appeal weren't to blame. Maybe because the episode didn't hinge entirely around sex, and what went down between Puck and Shelby was mostly off-camera - Discretion? On Glee? - the watchdogs haven't got their knickers in a twist yet. I'm assuming there will be consequences from this rather unpleasant and tasteless subplot, which might also appease the nay-sayers.Question: I had read recently that David Shore had a meeting with Fox execs to confirm whether or not Fox was going to renew House for a ninth season. Have you heard anything in the chatter as to what the fate of the show might be so that I can prepare myself if this is truly the end for House? - BrandonMatt Roush: There are no updates that I'm aware of; I'd think Fox will have to address this next month during its winter TCA session, if not earlier. Hugh Laurie's recent statements about quitting TV after House ends no doubt stirred up more new speculation about how much longer the show can go on. I've pretty much broken up with House this season - don't like the new characters, the old ones bore me, and I miss Cuddy - but I'd come back to see how it wraps if they do decide to end it this year (which I think would be wise). And there's still plenty of time to plot an end game at this point. The worst result would be for Fox to scrap the show in the spring without any warning. That would be no way to treat a show that has done so well for the network, and I don't see that happening.Question: The laugh track was used early in TV history to show viewers that whatever was said or done was funny enough to laugh at. Why do shows still use them? I turn to another channel when a laugh track is used. Don't producers know that people are now "sophisticated" enough to know when to laugh at dialogue or actions? - AmyMatt Roush: Seinfeld. Friends. Everybody Loves Raymond. Cheers and Frasier. Roseanne. Will & Grace. All in the Family. The Mary Tyler Moore Show. The Big Bang Theory. And yes, I Love Lucy. Need I go on? Sitcoms filmed in front of a studio audience, with laugh tracks sweetened or not, may not be to everyone's taste, but they are and have always been hugely popular for a good reason, and not just for people of a certain age. Properly executed, written and performed, they are among the most enduring classics TV has ever produced, and the best of these shows are written for the express purpose of generating laughter from a live audience, with the expectation that the home audience will laugh along. And for the most part, they do. When a traditionally filmed sitcom doesn't work (see: Whitney), there is nothing more painful than listening to canned (or sweetened) laughter when you're sitting there stone-faced. But I've seen my share of "sophisticated" single-camera comedies that are just as bad if not worse. There's a style to writing and producing both types of TV comedies, and I refuse to buy the argument that one is better than the other. The Modern Family creators earned their stripes with shows done the "old-fashioned" way, and thankfully, they're still producing belly laughs regardless of the format. For those interested in the state of the art of the laugh track, check out this recent excellent survey from the esteemed Joe Adalian.Question: While it is definitely not a perfect show, I feel Terra Nova has been improving every week, especially as it ups the stakes for the characters, as it did with the recent Taylor-focused episode and last week's reveal of Skye as the mole. I have to say I did not see that coming, and am really looking forward to watching that play out once Jim and Taylor are made aware of it, which I'm sure is coming soon. How long until Fox has to make a decision regarding a second season? I know you expect one, but especially given the long lead-time necessary to handle all of the effects, is there a date by which the network must say yes or no in order for the production to meet the hypothetical additional order? Can they wait until the upfronts in May to pull the trigger, or does the order have to come sooner? If they can wait until May, is that what you expect them to do? I know ABC often rewards its big hits with early renewals, and while Terra Nova is not a huge blockbuster, I think an early renewal might help their cause to produce more episodes next year. I've heard that Fox is contractually obligated to order 22 for the next round but am not sure if that will come to pass or not given the logistical difficulties of the production. If they really do want 22, I'd think sooner would be better than later to inform the producers of that decision.On a similar note, have you heard anything about what ABC's plans are for a ninth season of Grey's Anatomy in regards to the cast? All the remaining principal characters who have been there since the pilot have deals expiring at the end of this season, and a few of them have made comments to the press about weather or not they want to return, but the last I heard was Ellen Pompeo saying that no one has approached her about a new deal. Given the level of behind-the-scenes scrutiny at Grey's in the past, it would surprise me if negotiations actually manage to be kept completely from the media. So, do you know if these have started yet? I hope they are completed in such a way as to give any characters who must be written out a proper farewell arc, rather than just an abrupt exit stage right as was given to Burke and, to a lesser degree, Izzie (Katherine Heigl was intended to come back for a few more episodes which ended up not happening, as I recall.) The Izzie sendoff was fine, but my understanding is that they didn't know her final episode was her final episode when it was written, and I don't want to see that happen again. Granted, Burke and Izzie's exits were slightly different situations, but still. If some characters are going to leave, I would like closure with their stories if at all possible. - JakeMatt Roush: With Terra Nova, the renewal if it happens (for however many episodes) almost certainly has to be decided before the May upfronts for the show to be able to meet production deadlines. Can't say if there's a specific date that would represent the point of no return, but I imagine Fox will want to wait to see how the final episodes perform this month before making that call. It's a tricky situation; they've spent a lot of time and money developing the show, but its numbers haven't merited an early pick-up, and creatively, it's only now beginning to pick up steam, which might be too late. This is another topic I'd expect to come up during Fox's TCA executive session.With Grey's Anatomy, contract negotiations are rarely private, even when the participants would rather they be. (Negotiating through the media is always a popular tactic.) I'm sure as they get down to business, we'll all be hearing about it, and if you asked me to bet, I'd put my money on everyone coming back for at least another season. If any of the major players do depart at season's end, they deserve a significant send-off. That only makes sense. Whether that will happen, who can say at this point?Question: First of all, I've really enjoyed two new sitcoms this season: NBC's Up All Night and CBS's 2 Broke Girls. I think that both are so funny and the characters are awesome. What do you think about them and do you think that they have good chances to get renewed? How about other new series and what are your favorite new series? - HermanniMatt Roush: A renewal for 2 Broke Girls is a virtual no-brainer, and Up All Night has a good shot at a second season, especially if it performs decently when it moves to Thursdays next month (where it should have been airing all along). I like both shows well enough - though I often wish 2 Broke Girls didn't stoop so low for its crude laughs, and Up All Night is still trying to find a balance between the domestic comedy (which I like) and the workplace stuff (very uneven). But the new comedy I'm still craziest about is Fox's New Girl, with ABC's Suburgatory not far behind. Among dramas, my biggest letdown was ABC's Pan Am (which I expected much more from), and the nicest surprises have also been from ABC: Revenge and Once Upon a Time. CBS's Person of Interest is also just unusual enough to keep me interested, and I find the two leads fascinating.Question: I am just amazed at how much better Law & Order: SVU is this season. When I first watched this season, I thought I wouldn't like it with Christopher Meloni gone. Turns out I was wrong! In my opinion, Danny Pino and Kelli Giddish bring something to the show that it never had before, and new show runner Warren Leight has turned the show around for the better! But my question: Is Dick Wolf working on another new Law & Order series? I remember Bob Greenblatt stating that he'd like to see the Law & Order franchise continue on NBC. Is it possible that there I a Law & Order: Chicago in the works? Do you know, Matt? - JamHendMatt Roush: I've heard nothing (and neither has my most reliable L.A. mole) on that front, but given what a colossal dud Law & Order: Los Angeles was, it's hard to imagine NBC wading into that arena again anytime soon. I expect Dick Wolf will never stop coming up with new twists on the Law & Order formula, but I'd be surprised if they go back to trying to recapture the mothership's magic in a different city. That ship has sailed, and sunk. For the moment, I expect NBC will just stand behind SVU for as long as it's feasible. By the way, while we're saving our pennies in hopes of eventually being able to afford the new DVD boxed set of the complete Law & Order, I hope NBC never stops regretting the way they shut down the original series.Question: Will Pan Am make it for a complete season? Or will it disappear one of these days? I love the show! - GabrielaMatt Roush: Sorry to say it's not looking good. ABC only picked up one episode beyond the original 13 that were ordered, way short of a "back nine," which means after the remaining episodes air in early 2012, the crew is likely to be grounded for good. ABC insists it isn't canceling the show yet, which reportedly has sold well in overseas markets (though Sony, not ABC's Disney, is the distributor), but if ABC's replacement show GCB performs more strongly than Pan Am, which most expect will happen, we're talking a serious case of clipped wings. I liked the pilot episode and the idea and escapist look of the show, but the characters have never really ignited for me, which is a real shame.Question: I am thrilled to see that TNT is attempting a movie-of-the-week franchise this winter, with some very good actors making adaptations of books by popular writers. There are so many crappy movies all over cable, and I miss the higher quality movies that used to be on the networks (and I don't just mean high quality movies like Sarah Plain and Tall but fun stuff like Lace). Even USA used to do a good job at weekly movies back in the day. Have you looked at any of these and can you recommend some particular entries in the series? I'm particularly looking forward to the one with Carla Gugino. In a month of program drought when it is cold and everyone is home, I'm happy that TNT is one of the networks doing original programming and we have more options than Netflix and all of these insipid Christmas movies. (And I used to like Christmas movies, but how many Santa needs a bride, cold-hearted career woman discovers the value of family and Christmas movies can you watch?) - RebeccaMatt Roush: No argument on the increased sappiness of what has become of the Christmas TV-movie, and TNT's "Mystery Movie Night" is a refreshing change as well as a good idea, though so far it's decidedly a mixed bag. I reviewed the first two movies last week in my daily "Guide" columns: Innocent was pretty good, and Ricochet pretty awful. Like you, I'm so happy to have Carla Gugino back on TV I couldn't resist watching this Tuesday's entry, Hide (9/8c), which is no great shakes as a mystery (it's ridiculously convoluted) or as a character study (Gugino plays yet another career cop who sacrifices her personal life for the job), but it's a serviceable enough B-movie, which is about as high as TNT's ambitions seem to be toward this project.That's all for now. Keep sending your comments and questions to askmatt@tvguidemagazine.com, and in the meantime, follow me on Twitter!Subscribe to TV Guide Magazine now!

Georges Mlis and the Magic of 'Hugo'

The first time I crossed paths with French filmmaker Georges Méliès was at the age of eleven, while watching a music video by the Smashing Pumpkins. It was for the song 'Tonight Tonight,' where a couple travels to the Moon, gets attacked and kidnapped by a group of aliens, escapes via rocket ship and then crashes into the sea. At the end, a boat sails by with the words S.S. Méliès on the side. I had no idea who Méliès was at the time, nor that his short film -- 'Le Voyage Dans La Lune' (a.k.a. 'A Trip to the Moon') -- inspired the Pumpkins's video. In fact, I wouldn't find this out until 15 years later, when I saw Martin Scorsese's, 'Hugo.' The director's new film, in theaters now, features a young orphan who discovers the work of Georges Méliès (played by Ben Kingsley) through a mysterious automaton left behind by his deceased father. Throughout the movie, Scorsese recreates several of Méliès' shorts, including the iconic 'Le Voyage.' Although his last project was made more than a century ago, George Méliès is still considered one of the pioneers of cinema, credited for his innovations in special effects and film technique. And when artists as varied as Scorsese and the Smashing Pumpkins have been inspired by his work, you know it has to be someone worth checking out. (The fact that 'Hugo' just won Best Picture at the National Board of Review only adds to this intrigue.) So, who is Georges Méliès, and why is he considered one of the godfathers of filmmaking? Born in Paris in 1861, Méliès was the son of a couple who ran a successful footwear business. In 1884, he traveled to London, where Méliès became fascinated with magic, after seeing a show by the magicians Maskelyne and Cooke. When he returned to France, Georges began performing his own illusions. However, his film breakthrough came while attending the premiere of a Lumières brothers show. The Lumières were credited with using one of the first film cameras, a cinematographe; after the premiere, Méliès tried, but failed, to buy one from the brothers. Not one to give up easily, he went with the next best option, and built a camera on his own. Méliès soon began making short films, which were some of the first to use substitution (an effect where a person or object appears then disappears or changes into something else in the blink of an eye). Méliès eventually bought his own studio in Montreuil, which served as his workshop for almost three decades. He directed, produced, wrote, designed and sometimes starred in his films, which became popular, especially overseas. Méliès would go on to make over 500 movies in his career, two of which are considered some of the first of their genre ('Le Voyage' for science fiction and 'The Haunted Castle' for horror). However, by 1909, the novelty of his work began to wear off. Méliès would eventually go bankrupt and be forced to sell his studio. Many of his films were destroyed and used to make shoe heels (this is why countless Méliès' works no longer exist today). The world soon forgot about Georges Méliès, as he went to work in a toy store in Gare Montparnasse train station in Paris (which is where the bulk of Scorsese's 'Hugo' takes place). But in the 1920s, things began to change. French surrealists rediscovered the director's old work, and Méliès was eventually awarded the Legion of Honor. Seven years later, he passed away. The last movie he made was 'The Knight of the Snows,' in 1916. Scorsese does a beautiful job recreating the films of Méliès, with unique characters and layered set designs bursting with color. Of course, these details were never crystal clear on the originals, but you can still feel Méliès' energy and creative passion behind each of them. He enjoyed dazzling audiences of all ages, just like he had done when he was a magician. It's easy to understand why, at the turn of the twentieth century, moviegoers were captivated by them. It is interesting to go back and look through some of Méliès films and compare them to what Scorsese did in 'Hugo.' Some of Georges old movies are even available online: a quick YouTube search will yield not only 'Le Voyage,' but 'Un homme de têtes' ('The Four Troublesome Heads') where Méliès pulls his head off his shoulders and sets it on the table, 'The Haunted Castles,' which features a demon who summons skeletons and ghosts, and 'Conquête du Pôle' ('Conquest of the Pole') where balloonists travel to the North Pole, only to be chased by a man-eating frost giant. It's possible that today's audiences, particularly children, will likely find these original shorts a bit boring and cheesy. Many are devoid of color, lack the typical narrative structure we see in modern films and do not feature the CG we've come to expect from today's blockbusters. However, this makes Scorsese's 'Hugo' all the more poignant. Here is one of the finest directors of all time, looking to introduce the wonder of Méliès to a whole new generation (and, yes, that includes adults). Before I saw 'Hugo,' I just didn't care about Georges Méliès; now I do, and I understand his contribution to film. It had been years since I had seen the Pumpkins 'Tonight Tonight' video, so when I finally discovered the Méliès' connection, I watched it again, with a mix of nostalgia, enthusiasm and fascination -- a reaction Scorsese, Méliès and every other filmmaker has been looking to create for more than 100 years. [Sources: 'The Hugo Movie Companion: A Behind the Scenes Look at How a Beloved Book Became a Major Motion Picture'; George Méliès Official Website] [Photo: YouTube] Follow Moviefone on Twitter Like Moviefone on Facebook

Hulu, The new sony strike 'Community' syndie deal

Hulu has acquired exclusive privileges to any or all three seasons of 'Community.'Hulu has struck an offer with The new sony Pictures Television to create the 3 seasons of "Community" solely to the subscription service. Pact can make Hulu As well as the home for next-day use of current episodes in the third season effective immediately, in addition to the place to find both previous seasons. Financial the deal weren't revealed. The offer is really a surprise development for that battling NBC comedy, which lately had its put on the primetime schedule dropped for that midseason. 5 most lately broadcast instances of "Community" happen to be on the free Hulu site just before the offer together with other primetime NBC series. The sitcom happens to be popular around the service, where comedies like "Family Guy" have lengthy been the greatest audience driver. The "Community" purchase signifies the ongoing development of subscription VOD in general new arena within the distribution marketplace, where rivals including Hulu Plus, Netflix and Amazon . com Prime will be ready to invest exclusive right as a way of distinguishing companies largely awash in commoditized content. This is not Hulu Plus' first digital distribution deal. The service compensated Debmar-Mercury for exclusive privileges towards the entire run from the Fox series "Hell's Kitchen" in June. A notable difference with this particular deal is the fact that while "Kitchen" had limited distribution value being an unscripted production, "Community" is incorporated in the scripted half-hour mold that may fetch a lot of money from local stations or cable systems within the traditional aftermarket, where The new sony continues to have freedom to market the series. However, the rankings struggles "Community" has experienced since its beginning may likely make its conventional distribution purchase challenging. An infusion of dollars now might help The new sony shoulder the price of the show. Hulu could finish up a marketing platform for that series, where audiences who skipped on earlier episodes could catch on the things they skipped and become incentivized to take new episodes on NBC. Netflix has arrived its share of digital distribution exclusives including AMC series "Mad Males" and "The Walking Dead." Hulu has additionally looked overseas for exclusive TV privileges, nipping up British series in June including "Misfits," "Whites" and "The Booth in the Finish." Contact Andrew Wallenstein at andrew.wallenstein@variety.com

Nicolas Cage's Superman Comic Costs Millions

It will not mean the conclusion of Nicolas Cage's money worries, but getting one more $2 million has gotta help. A replica of Action Comics No. 1 -- featuring the initial appearance of Superman -- that apparently goes for the actor offered for just about any record-setting $2.16 million inside an online auction marketplace marketplace. Cage, a correctly-known comics collector, bought his copy for $150,000 in 1997 it absolutely was stolen from his home in 2000 after which retrieved from an abandoned storage locker. Roughly 100 copies of Action Comics No. 1 remain, only five could be in near-top condition, as was Cage's. A less well-maintained copy of Action Comics No. 1 offered for just about any then-record $1.5 million in March 2010. Around The month of the month of january 21, 2000, Cage observed that his Action Comics No. 1, along with copies of Batman's first appearance in Detective Comics No. 27 and Marvel Mystery No. 71, were missing. The Marvel Mystery is discovered a few several days later nevertheless the Batman comic was not ever retrieved. In the story completely from 'Storage Wars,' Cage's copy of Action Comics No. 1 was discovered inside an abandoned San Fernando Valley storage locker in April 2011. In those days, Cage's publicist referred to as recovery "divine providence." The actor had already received a coverage payment for your comic but many most likely showed up at funds to offer the comic returned. Stephen Fishler, Boss of Comicconnect, which situated the web auction, wouldn't make certain this really is really exactly the same comic that after belonged to Cage and reps for your actor haven't stated either. Though valuable copies of those a famous comic being so scarce, comic experts seem to consider it must be Cage's. [Photo: Getty] [via THR] Follow Moviefone on Twitter Like Moviefone on Facebook

Film Critic Pick a Few Front-Runners for Best Ensemble

Film Critic Pick a Few Front-Runners for Best Ensemble By Simi Horwitz November 30, 2011 Photo by Fox Searchlight "The Descendants" Films in contention for this year's SAG Award nominations in the best ensemble category offer a mixed bag of subjects, themes, and styles. Cast size and name recognition may vary, but most of the front-running movies feature large ensembles with at least a few stars. Hot topics and family drama don't hurt, and if the movie is based on a mega-bestseller, better yet. Consider "The Help" and "The Descendants," both likely contenders, according to the five film critics we spoke with.Those critics are Kevin Lally, executive editor, Film Journal International; Pete Hammond, film critic for Back Stage and awards columnist for DeadlineHollywood.com; Leonard Maltin, film critic and author of "Leonard Maltin's Movie Guide," published annually by Penguin; Dave Karger, senior writer at Entertainment Weekly; and Anne Thompson of Thompson on Hollywood at Indiewire.com. It should be noted that at the time of the interviews, the critics had not yet seen all the films generating buzz.Based on the bestselling novel by Kathryn Stockett, "The Help" has box office success and a stellar cast in its cornerparticularly Viola Davis and Octavia Spencer, who play domestics in an emotionally charged story set in Jackson, Miss., on the cusp of the civil rights movement. But even the smaller roles are vividly brought to life by such talents as Sissy Spacek, Allison Janney, and Jessica Chastain, says Lally: "The movie received mixed reviews, but you certainly can't fault the cast." For Hammond, the unexpected appeal of "The Help" further boosts its already high chances for a nomination: Nobody thought a movie featuring a cast of women would be a summer blockbuster. Even more striking and rare, he continues, is the number of terrific roles for women in one film. According to Maltin, there are no weak links in the cast.But for him, the hands-down ensemble winner is "The Descendants," an Alexander Payne ("Sideways") film starring George Clooney as a complex man who finds himself responsible for two young daughters after his wife has a terrible accident and is placed on life support. All the actors are given opportunities to shine, even in the smallest roles, Maltin says, citing Robert Forster, Judy Greer, Beau Bridges, Matthew Lillard, and Shailene Woodley as standouts. Some may have limited screen timesometimes only one or two scenesbut the acting is so good, the scenes have impact. "Alexander Payne understands the importance of every part, no matter how small," Maltin says. Lally adds that Woodley, playing one of the daughters, gives a breakthrough film performance, made more impressive because until recently she was identified with a family TV series, "The Secret Life of the American Teenager." The actors' ability to play comedy and drama in the same picture is also a plus, says Hammond. The film is a shoo-in for Thompson as well, who says the acting across the board is authentic, led by Clooney, "who gives his best performance. It's sophisticated, mature, subtle, and moving.""The Artist," a valentine to silent movies and American filmmaking, is another heavy favorite for Thompson. It's helmed by French director Michel Hazanavicius, and it stars French actors Jean Dujardin and Brnice Bejo. "The acting is superb," Thompson says. "It's poignant, comedic, romantic, and funny, in a 'Star Is Born'/'Sunset Boulevard'/'Singin' in the Rain' milieu, and it works beautifully. It's so original, actors will really dig it." She also likes the mix of French stars and veteran English-speaking actors such as John Goodman, Ed Lauter, Malcolm McDowell, Penelope Ann Miller, and James Cromwell, "all functioning in English in a silent film," Thompson says. Lally and Karger also love "The Artist," especially its originality and seamless blend of unlikely actors, including the two leads, who are stars in France but virtually unknown in the U.S.Karger admires Woody Allen's "Midnight in Paris" for ensemble acting that harks back to the director's earlier films, with a cast of actors who understand the Allen aesthetic. The film is a light and imaginative look at the magic of Paris through the ages. The hapless hero (Owen Wilson) is able to return to the Paris of the '20s, meet his icons (Ernest Hemingway, Gertrude Stein, and F. Scott Fitzgerald, among others), and become transformed. "It has established performers such as Owen Wilson, Kathy Bates, Rachel McAdams, and actors nobody has ever heard of, such as Corey Stoll as Ernest Hemingway," Karger says. "And everyone is having so much fun, it's irresistible." Hammond echoes that viewpoint.Both critics cite the political drama "The Ides of March"starring Clooney, Ryan Gosling, Paul Giamatti, Philip Seymour Hoffman, and Marisa Tomeias a possible contender for its juicy roles and great cast. "The film has so many Oscar nominees and past winners," Karger says. "Every scene felt so real." Lally is not a fan of the film, finding it "talky and trite," but acknowledges the caliber of its talent and its cachet among many critics, thus making it a possible contender.None of the critics had yet seen "Extremely Loud and Incredibly Close," but Karger and Lally thought it might be tapped for a best ensemble nom. A Stephen Daldry film, based on the novel by Jonathan Safran Foer, it features a stellar cast, including Sandra Bullock, Tom Hanks, Viola Davis, James Gandolfini, Jeffrey Wright, and John Goodman. The off-the-beaten-track story of a 9-year-old prodigy unlocking a mystery in the wake of his father's death on Sept. 11 has added appeal.Other films Lally cites as possible best-ensemble nominees are "My Week With Marilyn," "Carnage," and "Bridesmaids," calling the latter his "populist" choice. "It was very funny, and Kristen Wiig was very generous in giving other actors the chance to be funny, especially Melissa McCarthy, who is now comedy's golden girl," he says. "It's a popular film, and that doesn't hurt, but I think it would be hard for 'Bridesmaids' to sneak in, because it's raucous and slightly vulgar."Hammond cites "Moneyball," starring Brad Pitt, and perhaps "Tinker Tailor Soldier Spy" as potential nominees. He calls the latter, inspired by the John le Carr novel, a complex and not readily accessible movie that nonetheless boasts a great group of British actors, such as Colin Firth, John Hurt, and Tom Hardy. Hammond adds that Gary Oldman's subtle and nuanced lead performance is all the more impressive because he's performing in the shadow of Alec Guinness, who played the same character, George Smiley, in the 1979 BBC miniseries.Maltin cites three films he had not seen as possible frontrunners, thanks largely to the pedigree of the artists involved: Steven Spielberg's "The Adventures of Tintin" "War Horse," also helmed by Spielberg; and "The Iron Lady," starring Meryl Streep as Margaret Thatcher. Maltin has, however, seen and greatly admires Martin Scorsese's 3-D family film "Hugo." Based on Brian Selznick's children's book "The Invention of Hugo Cabret," about an orphan who lives inside the walls of a Parisian train station, the movie boasts a top-notch ensemble."Though some barely have any dialoguesuch as Richard Griffiths, Emily Mortimer, and another five actorsthey're all part of the fabric of the film and the atmosphere Scorsese created," Maltin says. "Though the lead performances are very strong, the film would not work as well without the ensemble." Film Critic Pick a Few Front-Runners for Best Ensemble By Simi Horwitz November 30, 2011 "The Descendants" PHOTO CREDIT Fox Searchlight Films in contention for this year's SAG Award nominations in the best ensemble category offer a mixed bag of subjects, themes, and styles. Cast size and name recognition may vary, but most of the front-running movies feature large ensembles with at least a few stars. Hot topics and family drama don't hurt, and if the movie is based on a mega-bestseller, better yet. Consider "The Help" and "The Descendants," both likely contenders, according to the five film critics we spoke with.Those critics are Kevin Lally, executive editor, Film Journal International; Pete Hammond, film critic for Back Stage and awards columnist for DeadlineHollywood.com; Leonard Maltin, film critic and author of "Leonard Maltin's Movie Guide," published annually by Penguin; Dave Karger, senior writer at Entertainment Weekly; and Anne Thompson of Thompson on Hollywood at Indiewire.com. It should be noted that at the time of the interviews, the critics had not yet seen all the films generating buzz.Based on the bestselling novel by Kathryn Stockett, "The Help" has box office success and a stellar cast in its cornerparticularly Viola Davis and Octavia Spencer, who play domestics in an emotionally charged story set in Jackson, Miss., on the cusp of the civil rights movement. But even the smaller roles are vividly brought to life by such talents as Sissy Spacek, Allison Janney, and Jessica Chastain, says Lally: "The movie received mixed reviews, but you certainly can't fault the cast." For Hammond, the unexpected appeal of "The Help" further boosts its already high chances for a nomination: Nobody thought a movie featuring a cast of women would be a summer blockbuster. Even more striking and rare, he continues, is the number of terrific roles for women in one film. According to Maltin, there are no weak links in the cast.But for him, the hands-down ensemble winner is "The Descendants," an Alexander Payne ("Sideways") film starring George Clooney as a complex man who finds himself responsible for two young daughters after his wife has a terrible accident and is placed on life support. All the actors are given opportunities to shine, even in the smallest roles, Maltin says, citing Robert Forster, Judy Greer, Beau Bridges, Matthew Lillard, and Shailene Woodley as standouts. Some may have limited screen timesometimes only one or two scenesbut the acting is so good, the scenes have impact. "Alexander Payne understands the importance of every part, no matter how small," Maltin says. Lally adds that Woodley, playing one of the daughters, gives a breakthrough film performance, made more impressive because until recently she was identified with a family TV series, "The Secret Life of the American Teenager." The actors' ability to play comedy and drama in the same picture is also a plus, says Hammond. The film is a shoo-in for Thompson as well, who says the acting across the board is authentic, led by Clooney, "who gives his best performance. It's sophisticated, mature, subtle, and moving.""The Artist," a valentine to silent movies and American filmmaking, is another heavy favorite for Thompson. It's helmed by French director Michel Hazanavicius, and it stars French actors Jean Dujardin and Brnice Bejo. "The acting is superb," Thompson says. "It's poignant, comedic, romantic, and funny, in a 'Star Is Born'/'Sunset Boulevard'/'Singin' in the Rain' milieu, and it works beautifully. It's so original, actors will really dig it." She also likes the mix of French stars and veteran English-speaking actors such as John Goodman, Ed Lauter, Malcolm McDowell, Penelope Ann Miller, and James Cromwell, "all functioning in English in a silent film," Thompson says. Lally and Karger also love "The Artist," especially its originality and seamless blend of unlikely actors, including the two leads, who are stars in France but virtually unknown in the U.S.Karger admires Woody Allen's "Midnight in Paris" for ensemble acting that harks back to the director's earlier films, with a cast of actors who understand the Allen aesthetic. The film is a light and imaginative look at the magic of Paris through the ages. The hapless hero (Owen Wilson) is able to return to the Paris of the '20s, meet his icons (Ernest Hemingway, Gertrude Stein, and F. Scott Fitzgerald, among others), and become transformed. "It has established performers such as Owen Wilson, Kathy Bates, Rachel McAdams, and actors nobody has ever heard of, such as Corey Stoll as Ernest Hemingway," Karger says. "And everyone is having so much fun, it's irresistible." Hammond echoes that viewpoint.Both critics cite the political drama "The Ides of March"starring Clooney, Ryan Gosling, Paul Giamatti, Philip Seymour Hoffman, and Marisa Tomeias a possible contender for its juicy roles and great cast. "The film has so many Oscar nominees and past winners," Karger says. "Every scene felt so real." Lally is not a fan of the film, finding it "talky and trite," but acknowledges the caliber of its talent and its cachet among many critics, thus making it a possible contender.None of the critics had yet seen "Extremely Loud and Incredibly Close," but Karger and Lally thought it might be tapped for a best ensemble nom. A Stephen Daldry film, based on the novel by Jonathan Safran Foer, it features a stellar cast, including Sandra Bullock, Tom Hanks, Viola Davis, James Gandolfini, Jeffrey Wright, and John Goodman. The off-the-beaten-track story of a 9-year-old prodigy unlocking a mystery in the wake of his father's death on Sept. 11 has added appeal.Other films Lally cites as possible best-ensemble nominees are "My Week With Marilyn," "Carnage," and "Bridesmaids," calling the latter his "populist" choice. "It was very funny, and Kristen Wiig was very generous in giving other actors the chance to be funny, especially Melissa McCarthy, who is now comedy's golden girl," he says. "It's a popular film, and that doesn't hurt, but I think it would be hard for 'Bridesmaids' to sneak in, because it's raucous and slightly vulgar."Hammond cites "Moneyball," starring Brad Pitt, and perhaps "Tinker Tailor Soldier Spy" as potential nominees. He calls the latter, inspired by the John le Carr novel, a complex and not readily accessible movie that nonetheless boasts a great group of British actors, such as Colin Firth, John Hurt, and Tom Hardy. Hammond adds that Gary Oldman's subtle and nuanced lead performance is all the more impressive because he's performing in the shadow of Alec Guinness, who played the same character, George Smiley, in the 1979 BBC miniseries.Maltin cites three films he had not seen as possible frontrunners, thanks largely to the pedigree of the artists involved: Steven Spielberg's "The Adventures of Tintin" "War Horse," also helmed by Spielberg; and "The Iron Lady," starring Meryl Streep as Margaret Thatcher. Maltin has, however, seen and greatly admires Martin Scorsese's 3-D family film "Hugo." Based on Brian Selznick's children's book "The Invention of Hugo Cabret," about an orphan who lives inside the walls of a Parisian train station, the movie boasts a top-notch ensemble."Though some barely have any dialoguesuch as Richard Griffiths, Emily Mortimer, and another five actorsthey're all part of the fabric of the film and the atmosphere Scorsese created," Maltin says. "Though the lead performances are very strong, the film would not work as well without the ensemble."