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‘The Rite’ #1, ‘The Mechanic’ #4; Best Picture Nominees Begin Oscar Bumps

SATURDAY PM/SUNDAY AM: The big news this weekend wasn’t just seeing whether domestic grosses were depressed on the post-blizzard East Coast (they weren’t), but also which movies received Oscar bumps given that the Academy Award nominations were announced this past Tuesday (all of them still in theaters). Some like The King’s Speech, 127 Hours, Blue Valentine (because of Michelle Williams’ Best Actress nom), and Rabbit Hole (due to Nicole Kidman’s), all expanded their runs. True Grit, Black Swan, The Fighter, are still in the thick of their releases and held very well, including Golden Globe Best Drama winner The Social Network in limited release for a return engagement to improve on its $96M domestic cume. (But King’s Speech attendance could soar if The Weinstein Co succeeds in creating a PG-13 version for exhibitors and educators who want the R-rated movie available to a bigger audience.)

As for this weekend’s newcomers, studios hoped that house-bound blizzard victims would dig out and go to the movies on this football-less Sunday. Warner Bros’ exorcism genre pic The Rite starring Anthony Hopkins and playing in 2,985 theaters came in #1 with approximately $15 million. CBS Films released hit man flick The Mechanic with 2,703 runs for #3 Friday. But the Jason Statham starrer fell to 4th Sunday with $11.5M. CBS Films paid $5M for the distribution rights and the pic supposedly will be in profit if its domestic run gets to the mid-$20sM. “It’s coming in where we expected,” one insider tells me. “I’d rather our … Read More »

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Wednesday: Holiday Box Office Grosses



THURSDAY AM: Here are unofficial numbers from my sources for Wednesday’s box office as the holidays continue. The Weinstein Co’s Blue Valentine opened in 4 theaters; the Derek Cianfrance film starring Ryan Gosling and Michelle Williams logged an estimated opening day gross of $47K for a best day location average of $11,750. Sony Pictures Classics’ Another Year debuted in 6 runs:

Top 10

1. Little Fockers (Universal) Week 2 [3,536 Theaters]
Monday $8.4M, Tuesday $7.7M, Wednesday $7.8M, Cume $69M
2. True Grit (Paramount) Week 2 [3,047 Theaters]
Monday $7.1M, Tuesday $6.1M, Wednesday $6.2M, Cume $55.3M
3. Tron: Legacy 3D (Disney) Week 2 [3,451 Theaters]
Monday $6.3M, Tuesday $6.3M, Wednesday $6.1M, Cume $106.1M
4. Yogi Bear 3D (Warner Bros) Week 2 [3,515 Theaters]
Monday $3.5M, Tuesday $4.5M, Wednesday $4.5M, Cume $48.4M
5. Tangled 3D (Disney) Week 5 [2,582 Theaters]
Monday $3.2M, Tuesday $3.6M, Wednesday $3.7M, Cume $154.2M
6. Chronicles Of Narnia 3D (Fox) Week 3 [3,350 Theaters]
Monday $3.5M, Tuesday $3.7M, Wednesday $3.3M, Cume $73.1M
7. Gulliver’s Travels 3D (Fox) Week 1 [2,546 Theaters]
Monday $2.6M,Tuesday $2.9M, Wednesday $3.1M, Cume $15M
8. Black Swan ( Fox Searchlight) Week 4 [1,466 Theaters]
Monday $2.4M, Tuesday $2.4M, Wednesday $2.5M, Cume $36.2M
9. The Fighter (Relativity/Paramount) Week 3 [2,511 Theaters]
Monday $2.4M, Tuesday $2.2M, Wednesday $2.4M, Cume $33.8M
10. The Tourist (GK Films/Sony) Week 3 [2,756 Theaters]
Monday $1.8M, Tuesday $1.7M, Wednesday $1.7M, Cume $46.1M

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OSCAR: Overview Of Best Screenplay Race

Pete Hammond

It’s amazing that any good script ever gets made anymore. If there is one common thread running through most of the contenders for screenplay honors this year, it is what a long, looooong journey it is from page to screen. And another fairly obvious truth: the road to Best Picture starts on the page. In fact, since 1933, only 3 movies have managed to win the Best Picture Oscar without at least having their screenplay nominated and, in the majority of cases, actually winning. One of those movies was Hamlet in 1948 but its credited writer, William Shakespeare, wasn’t around for the rewrites. The other two were The Sound Of Music (1965) and Titanic (1997).

The writers strike in 2007 proved not much gets done without scribes and the effects of that strike, particularly in terms of quality screenplays, is still being felt. Nevertheless 2010 is a rich feast as far as the writers are concerned  but none of it was easy. Among the screenplay contenders, Black Swan, Blue Valentine, Get Low, and Inception were each percolating in the minds of their writers for more than a decade. In the case of The King’s Speech, it was more than 3 decades. The Kids Are All Right and Hereafter were thrown into drawers, unfinished, only to be rescued years later. And to demonstrate just how important  the right words and concept are, it was 11 years between Toy Story 2 and 3. Of course the wait for just the right concept and script paid off when Toy Story 3 not only became the highest grossing film of the year, but also the number one animated film of all time and the best reviewed movie of the year on Rotten Tomatoes.

On the other hand, it doesn’t always have to take years to see a script turned into a movie. Another of 2010’s most critically acclaimed hits, The Social Network, was fast-tracked. The events it depicts happened just six years ago and were still unfolding when Aaron Sorkin wrote his screenplay even as the book it is partially based on was still being written itself. That seems to be an exception as most Oscar caliber scripts languish in development hell, most of them “too good” to get made until fate – and a reasonable budget — intervenes. Of all the branches in the Academy, the writers have been the ones to go off the page as it were and select offbeat and sometimes unexpected and unheralded nominees.

Here is a rundown of the screenplays that completed Hollywood’s obstacle course  and now have a shot at the industry’s highest award:

BEST ORIGINAL SCREENPLAY

Animal Kingdom – David Michod: This tight Australian crime thriller about a 17-year-old trying to survive in a fearsome crime family has so far won lots of notice this awards season for co-star Jacki Weaver but could be recognized by writers for writer/director Michod’s powerfully effective and almost Shakespearean-like tale.

Another Year – Mike Leigh: Leigh’s uniquely original scripts borne out of a long and involved rehearsal period in which his actors all contribute to the final product have won him four previous nominations here (Secrets And Lies, Topsy Turvy, Vera Drake, Happy Go Lucky) and this slice-of-British-life drama could make it five.

Biutiful – Alejandro Gonzalez  Inarritu: After directing such critically acclaimed films as Amores Perros, 21 Grams, and Babel all written by Guillermo Arriaga, Inarritu strikes out on his own to write this very personal, dark, and moving journey about a man whose life is in freefall. He’s been previously Oscar nominated as a director, producer, and for Foreign Language Film. But this could be the first time he is recognized for his writing talents.

Black Swan – Mark Heyman, Andres Heinz, John J McLaughlin: This script started out as sort of an All About Eve set in the world of ballet but it morphed into much more than that once it finally got into the hands of Heyman, director Darren Aronofsky’s director of development. After 10 years and almost being permanently shelved just a month before production was to begin, it’s turned into a hit movie and major awards magnet.

Blue Valentine - Derek Cianfrance, Joey Curtis, Cami Delavigne: First written in 1998 and then rewritten more than 60 times, Cianfrance, who also directed, took 12 years to finally see his very personal story of a failing marriage hit the screen. The rawness of the dialogue and intensity of the scenes nearly landed this with an NC-17 until distributor Harvey Weinstein convinced the MPAA to change course and award an “R”.

City Island – Raymond De Felitta: This spring crowd-pleaser about a loud but loving and highly dysfunctional New York family was one of the first to get its screeners out, a good thing since many Academy members missed it and now seem to have a sense of discovery as they have been catching up with it. Whether that translates into a long shot surprise nomination in the writing category is anyone’s guess. But this movie has been full of surprises since winning the audience award at Tribeca two years ago.

Company Men – John Wells: The timeliness of WGA president John Wells’ story of corporate executives being downsized and thrown out of a job could be the thing that gets his fellow writers to give this a whirl in the DVD player. But the Weinstein Company seems to be pushing other higher profile movies in this category like The King’s Speech and Blue Valentine a little more forcefully. Its 76% fresh ranking at Rotten Tomatoes suggests that critics at least have liked what they’ve seen.

Conviction – Pamela Gray: She wrote two films, A Walk On The Moon and Music of the Heart, both released in 1999. But it would be another decade before she earned another big screen credit for this remarkable true story of  Betty Anne Waters who spent 18 years putting herself through school in order to become a lawyer and get her wrongly convicted brother out of prison. Still this might be as much of a long shot as that triumph was.

The Fighter – Scott Silver, Paul Tamasy, Eric Johnson, Keith Dorrington (co-story): Another long in development dream project, this true story of boxer Mickey Ward and his relationship with his crack-addicted brother Dicky was another case of ‘never say never’, thanks in large part to the perseverance of star/co-producer Mark Wahlberg who didn’t stop training even when the Paramount movie looked dead until further rewrites and budget cuts got it a greenlight from Ryan Kavanaugh/Relativity Media. With strong Best Picture prospects, this would seem a shoo-in for a nomination.

Get Low – C. Gaby Mitchell, Chris Provenzano: Mad Men writer Provenzano dreamed up the story of a hermit wanting to throw his own funeral in 2001 but then saw it reworked five years later by Mitchell. The result of this shotgun writers’ marriage was this long-in-development film finally got made and gave Robert Duvall  another major starring role and shot at a second Oscar at age 80.

Hereafter – Peter Morgan: As a writer Morgan tended to do real life stories like The Last King Of Scotland, The Queen and Frost/Nixon, the latter two both winning him Oscar nominations. But the death of a friend led him into very different territory with this very spiritual tale on the tenuous connections between living and dying. With director Clint Eastwood insisting on not changing a word, Morgan got to live the writers dream and could land his third nomination although the film seems to be fading in memory this awards season.

Inception - Christopher Nolan: Shortly after winning his only Oscar nomination to date with his original screenplay Memento 10 years ago, Nolan came up with the concept for this startling and emotional story about dream invaders. It took a couple of enormously successful Batman films but Nolan finally got it made, winning that “dream” combination of rave reviews and blockbuster boxoffice. This would seem a certainty to earn him his next dance with Oscar.

The Kids Are All Right – Lisa Cholodenko and Stuart Blumberg: Indie filmmaker Cholodenko wanted to go a little more commercial. And commercial filmmaker Blumberg wanted to go a little more indie. So the perfect combination was formed to write this family dramedy about a Lesbian couple with two teen kids whose relationship hits the rocks when their sperm donor suddenly flies in from the past. Winner of a NY Film Critics screenplay award and nominated for Golden Globes and CCMA honors, this is a rare comedy that could break through against its super serious competition.

The King’s Speech – David Seidler: Seidler, who had stuttering problems of his own as a kid, has been waiting 35 years to tell the story of the friendship between King George VI of England and his Australian speech coach, Lionel Logue. It’s been the longest journey of any screenwriter this year, but this WGA nominated writing veteran (Tucker: The Man and His Dream) is suddenly an “overnight” success and an Oscar frontrunner.

Made In Dagenham - William Ivory: A feel-good period piece about a group of feisty female factory workers fighting for equal pay in late 1960s England, Ivory’s deft combination of pathos, humor, and determination would make this an instant contender. But box office has been spotty, and its main chance at Oscar recognition would appear to be in the hands of the writers branch who are often known for championing the little guy – or in this case gal.

Please Give – Nicole Holofcener: This spring comedy was one of the first 2010 films to elicit any awards talk when it was released in April but its memory has faded a bit and another offbeat family comedy The Kids Are All Right may have stolen its thunder. Still, Holofcener’s quirky dialogue and amusing and flawed characters are highly entertaining and could pull a (major) surprise.

Somewhere – Sofia Coppola: This European-style minimalist exercise may be an acquired taste but don’t count out Coppola who won here for her only other original screenplay, Lost In Translation, in 2003. The Grand Prize winner at the Venice Film Festival, this story of a LA actor adrift and trying to forge a relationship with his young daughter actually could strike a few chords and win a few votes from other writers who may see someone they know in this.

BEST ADAPTED SCREENPLAY

127 Hours – Danny Boyle and Simon Beaufoy: Adapting Aron Ralston’s book about his 5-day ordeal trapped “between a rock and a hard place” in a canyon he only escaped by cutting off his own arm, would seem to be impossible. Director Boyle had a vision and conquered 2 drafts before bringing in his Oscar-winning Slumdog Millionaire writer Beaufoy to do clean up. Somehow, they managed to turn this one-man show into a compelling movie and so far have landed Golden Globe and CCMA nominations for this ‘farewell to arm’ tale of man vs. nature with Oscar recognition a good bet at this point.

Fair Game – Jez Butterworth, John-Henry Butterworth: This riveting political thriller won top reviews in Cannes but failed to ignite the box office in its November opening stateside. Still, the screenplay crackles as the Butterworth brothers took both books by Valerie Plame and husband Joe Wilson to tell the tale of Plame’s massive CIA identity leak and the ensuing nightmare it caused. Longshot.

The Ghost Writer – Robert Harris, Roman Polanski: With Polanski’s aid, novelist Harris took a crack at his own book about a hired writer helping to craft the memoirs of a shady former British Prime Minister. With Hitchcockian twists and turns, the pair wrote a screenplay dealing with the craft of writing among many other things that should have great appeal in this category and may well win a nomination despite the threat of being forgotten due to its early 2010 release date.

The Girl With The Dragon Tattoo – Nikolaj Arcel, Rasmus Heisterberg: Despite its Foreign Language and Swedish origins, this first of Stieg Larsson book adaptations (followed by The Girl Who Played With Fire and The Girl Who Kicked The Hornet’s Nest) represent perhaps one of the highest profile and most prodigious contenders in the category this year. Writers branch members in their Oscar voting are often receptive to foreign films so this one has a genuine shot of making the grade.

How To Train Your Dragon – William Davies, Dean DeBlois, Chris Sanders: Taking Cressida Cowell’s stirring kids book and giving it heart, humor, and action, this writing team could find themselves competing against another toon, Toy Story 3. Writers have never been shy about acknowledging the scribe talents behind animated features in recent years and this one should be no exception. But it would mean seeing two toons going head to head here for the first time.

Love And Other Drugs – Ed Zwick, Marshall Herskovitz, Charles Randolph: Jamie Reidy’s book Hard Sell: The Evolution of a Viagra Salesman proved to be perfect source material to get Zwick off the historical epic beat and back to romantic comedy basics. An underperformer at the box office,  this sexy romp is a long shot but showed there’s still life in the genre. Read More »

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Weinstein Moves Up ‘Blue Valentine’ Release To December 29

Mike Fleming

EXCLUSIVE: I’ve learned that The Weinstein Company will move up the release of Blue Valentine two days to Wednesday, December 29. The goal is to get a two-day head start on that New Year’s holiday weekend. The film will start on one screen in New York and one in Los Angeles, with another theater added in Gotham on December 31. The pic will then expand into 10 markets on January 7. Read More »

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MPAA Confirms ‘Blue Valentine’ Rating Change

Mike Fleming

LOS ANGELES — The Classification and Rating Appeals Board today overturned the NC-17 rating given to the movie “Blue Valentine.” The Classification and Rating Administration (CARA) had assigned the movie the NC-17 rating for “a scene of explicit sexual content.” The film is now rated R, on appeal, for “strong graphic sexual content, language, and a beating.”

In the appeal brought by the Weinstein Company, the Appeals Board heard statements on behalf of “Blue Valentine” from Harvey Weinstein, Co-Chairman of the Weinstein Company, and Alan Friedman, Counsel to the Weinstein Company. The Classification and Rating Administration was represented by Chairman Joan Graves.

# # #

About the Appeals process:

The Classification and Rating Appeals Board is made up of members of the industry knowledgeable about the distribution and exhibition of motion pictures and whose sole mission is to maintain the integrity of the voluntary ratings system. A successful appeal requires a decisive two-thirds majority affirming that the rating is “clearly erroneous.” The overriding objective of the appeals process is to ensure that the rating system remains consistent and therefore credible. The Board reviews 800-900 films each year. Usually fewer than a dozen ratings a year are appealed.

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Urgent! MPAA Appeal Overturns NC-17 On ‘Blue Valentine’

Mike Fleming

EXCLUSIVE: The MPAA has overturned the NC-17 rating on the Derek Cianfrance-directed Blue Valentine. The film will be given an R rating after Harvey Weinstein personally argued his position in today’s hearing. That clears up all kinds of potential problems that awaited the film had it been released with that rating or unrated. The rating was given for a sex scene between a married couple played by Ryan Gosling and Michelle Williams as their relationship disintegrates. I’m told the appeal board’s decision was unanimous.

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Harvey To The Rescue Of ‘Blue Valentine’?

Pete Hammond

Harvey Weinstein tells me that, for the first time ever, he plans to personally make the appeal to the MPAA this Wednesday. He will urge them to reduce his award season hopeful Blue Valentine’s current NC-17 rating to a more exhibition-friendly R instead. He was in town briefly last week and I caught up with him in the lobby of the Academy of Motion Picture Arts & Sciences Friday night where he showed up to support his stars Ryan Gosling and Michelle Williams who were doing a Q&A after a SAG nominating committee screening. “Usually just my lawyers do the appeals, but this time I am going to,”  he told me. He noted that his companies  have been involved in many appeals over the years but have only won a handful of times. He’s obviously hoping this is going to be one of them, especially with his own personal plea.

Whatever the outcome, it’s clear no one milks ratings controversies for the free publicity better than Harvey. As he perused the Academy’s  incredible poster displays on the walls of the Linwood Dunn (“That’s Sophia Loren in Marriage Italian Style. She was in my movie Pret A Porter”), Weinstein said he thought the awards campaign for The King’s Speech was going smoothly. He’s happy now with its new poster (the first one left something to be desired). But Harv said he  really, really wants Golden Globe (and Oscar, of course) attention for Blue Valentine too. After the SAG screening he planned to follow the stars to their next stop, a BAFTA Q&A at the Pacific Design Center. Harv is in full award season battle mode now and obviously relishing the strong early limited run grosses for his Kings’ Speech. Read More »

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OSCAR: Red Carpets Rolling Out For Contenders In Ultra-Crowded Season

Pete Hammond

The pace of the 2010 awards season seems at this early November juncture to be faster than any I can remember. (I feel like the title of the late and great Jill Clayburgh’s star turn, I’m Dancing As Fast As I Can.) Hopefuls are getting out there earlier, and more forcefully, in order to gain a foothold in the race any way they can. Examples from just two days’ worth of campaigning: Michelle Williams called me from the London set of My Week With Marilyn. Yes, she’s playing the iconic Monroe but couldn’t yet articulate what that means to her and instead wanted to talk about her awards contender, Blue Valentine. So we did before I had to run off to the Four Seasons Hotel to chat with Robert Duvall about his contender, Get Low. It was a summer release he’s now trying to keep in the conversation by doing an exhaustive series of interviews and Q&A sessions. For a guy who is about to turn 80, he could not have been more energized even with the daunting prospect of facing months of the “season” still to go. Javier Bardem called on his cell from a street corner in Madrid to recount for me the intense experience of making Biutiful. Then I had to again race to the Four Seasons for back to back bar chats with two other Best Actor wannabes, Kevin Spacey who talked Casino Jack before Aaron Eckhart arrived 10 minutes later to discuss Rabbit Hole.

With the exception of Get Low, all of the above were spotlighting work in independently made movies that are mid to late December releases. But their stars cannot afford to wait if they are to get on the map in this ultra-crowded season. The ever-busy Spacey was at the Britannias and an MPTVF event  on Thursday night and also turned up Sunday evening at the Pacific Design Center for an actor-centric post-screening Q&A for SAG nominating committee members. Like an episode of Inside The Actors Studio, the packed house gave him a standing ovation. Reliable eyewitness sources tell me  even more impressive standing O happened to Halle Berry two nights in a row at the same place where she Q&A’d her December stealth entry, Frankie & Alice for the NAACP Image Award voters Friday and SAG Nom Comm Saturday. They marked her indie’s first screenings but Berry wasn’t watching. She was out in the lobby doing TV interviews about what the project meant to her as an actress. Meanwhile publicists were frantically cutting film clips for the late-breaking entrant and hoping to have their DVD screeners out well before Thanksgiving. As part of her campaign,  Berry will also be “in conversation” with a career retrospective Tuesday night at the AFI Fest.

Speaking of that, the AFI Film Festival opened with Twentieth Century Fox’s Love And Other Drugs. The glut of AFI galas is because it’s an inexpensive way for distribs to do LA premieres this time of year and still get maximum exposure. They included The Weinstein Co’s Blue Valentine with co-star Ryan Gosling and director Derek Cianfrance on the carpet  at the Chinese. While down the street at the Egyptian, Sony Pictures Classics unveiled their comedy Barney’s Version with superlative performances from stars Paul Giamatti, Minnie Driver, and Dustin and Jake Hoffman who were all on hand for the stroll down that red carpet. The film, based on the Mordecai Richler story and previously seen in Venice and Toronto, was a hit at AFI with special praise for absent co-star Rosamund Pike who could find her way into the supporting actress race. Read More »

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OSCAR: Awards Season Shifts Into Gear

Pete Hammond

If you had any doubt that Oscar season is upon us, the flurry of events and openings this week prove it. The AFI Film Fest  opened last night at Mann’s Chinese with Ed Zwick’s Love And Other Drugs and continues all week with a slew of major contenders getting their official (and unofficial) Los Angeles premieres, including Rabbit Hole, Blue Valentine, Black Swan, Barney’s Version, Casino Jack, Made In Dagenham, and Friday night’s red carpet gala for The Weinstein Company’s The King’s Speech. And across town Thursday night at the Hyatt in Century City, Harvey Weinstein and The King’s Speech director Tom Hooper were hearing lots of praise from the Brits gathered for their black tie Brittania Awards, an annual show put on by BAFTA-LA this year honoring Jeff Bridges, Christopher Nolan, Ridley and Tony Scott, Michael Sheen, and Betty White. Receiving the Charlie Chaplin Britannia for Excellence in Comedy, she teased that she’d never slept with Chaplin, then added, “Well, maybe just once.” 

Hooper had appeared at a BAFTA screening of his film the night before which reportedly played like gangbusters with the understandably partial crowd. Weinstein told me he is “fighting” mad about the MPAA decisions to give his Blue Valentine an NC 17 and King’s Speech a PG 13, the latter for one expletive-laden speech in which Colin Firth’s King George VI tries to lose his stutter through a vocal exercise requiring him to recite a series of bad words. As far as the MPAA is concerned, one “fuck” gets you a PG-13 but two “fucks” get you an R. Harvey pledged to take on the MPAA, at least with Valentine, but has no plans to make cuts in either film. Hooper told me he even refused to put bleeps in the airline version. Speech producer Gareth Unwin, also at the Britannias, told me the version of the scene in the finished film is positively tame compared to a couple of other takes where the King’s language really got down and dirty. If they had known the scene was going to get them an R anyway, Unwin said they might have really gone for the jugular. (Bonus extras on the DVD?) 

Read More »

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Weinstein Company To Fight ‘Blue Valentine’ NC-17 Appeal In November

Mike Fleming

The Weinstein Company next month will challenge the preliminary NC-17 rating that the MPAA slapped on Blue Valentine, the Derek Cianfrance-directed drama that is a potential Oscar contender for performances by Michelle Williams and Ryan Gosling. An appeal was expected since Deadline broke the news that the film was dealt a rating that places restrictions on its theatrical run and its ancillary life as well. The hearing will be held in November, and Harvey Weinstein will be represented by attorneys Alan R. Friedman of Kattin Muchin and David Boies of Boies, Schiller & Flexner. The film will be platformed in December to qualify for Oscar consideration. Read More »

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AFI Pays Tribute To ‘The King’s Speech’

This year’s AFI Festival will host an ensemble tribute to The King’s Speech, with director Tom Hooper and stars Colin Firth and Geoffrey Rush. The festival has also made its Centerpiece Gala selections, including director Diego Luna’s Abel, George Hickenlooper’s Casino Jack and John Wells’ The Company Men, along with Barney’s Version and Blue Valentine. Also newly slated are several special screenings, including the U.S. premiere of John Sayles’ Amigo, Werner Herzog’s 3D Cave Of Forgotten Dreams, John Cameron Mitchell’s Rabbit Hole and Nigel Cole’s Made in Dagenham. The festival takes place November 4-11 in Hollywood and has already announced that Love & Other Drugs will be the opening night film and Black Swan will serve as the closing night selection. David Lynch serves as the festival’s artistic director.

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Hot Trailer: ‘Blue Valentine’

Mike Fleming

Deadline revealed this morning that Blue Valentine received a surprising preliminary NC-17 rating from the MPAA. The Derek Cianfrance-directed film stars Ryan Gosling and Michelle Williams as a young couple whose marriage disintegrates. This teaser shows them in happier times:

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MPAA Gives Ryan Gosling-Michelle Williams Drama ‘Blue Valentine’ Dreaded NC-17

Mike Fleming

EXCLUSIVE: In a surprising development, the MPAA ratings board has slapped an NC-17 rating on Blue Valentine, the Derek Cianfrance-directed drama that is creating Oscar buzz for the performances of Ryan Gosling and Michelle Willams. The film, about the slow corrosion of the relationship between a young couple, was acquired by The Weinstein Company after its premiere at the last Sundance Film Festival. The film also played at Cannes and Toronto. Read More »

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