New Poster For The Phantom Menace

Those 3D Star Wars are rolling outThey've been rolling closer for some time now, but here's real proof that the Star Wars 3D reissues are really, actually, honestly happening, with a poster for The Phantom Menace. It's back, and this time it's stereoscopic.{New Poster For The Phantom Menace}You'll note that the poster designers have emphasised the more popular elements of the film here: DarthMaul is front and centre, Ewan McGregor and Yoda get a look in, but Jake Lloyd and Jar Jar are nowhere to be seen. Contrast this with the original poster back in 1999 below, where both got a shot.{Original Phantom Menace Poster}We're not quite sure why the still-popular LiamNeeson and Natalie Portman have lost their spot, however; presumably it's simply to make this one look different to 1999's, or perhaps it's more important to remind us that there will be pod-racing and space battles in 3D. The teaser's still the best of the lot though.{Phantom Menace Teaser Poster}Star Wars Episode I:The PhantomMenace is out in 3D onFebruary 10, 2012.

Oscar-Chasing The Artist Starts Strong In NYFF, Hamptons Festival Tour

The Artist, the silent film that has emerged since Cannes as one of the year’s presumptive Oscar front-runners, finally makes landfall in the States this weekend: Following tonight’s East Coast premiere at the NY Film Festival, Michel Hazanavicius’s tribute to old Hollywood rolls out for audiences at the Hamptons Film Festival. And if today’s early reactions at the NYFF press screening were any indication, all signs point to success. Starring Jean Dujardin as a self-obsessed silent-era superstar marginalized by the advance of talkies, The Artist is a touching (if slightly overprecious) romp through cinema’s first great sea change. Like fellow NYFF ‘11 class members My Week With Marilyn and Hugo, the film is also a gorgeous exercise in movie love — this one shot in black and white on location at many of the backlots where its influences were born more than 80 years ago. Its surprises and wonders are too rich to spoil here, from the game supporting cast of American actors to an animal performance worth its own Oscar consideration, and it does lapse periodically into a simple-minded vanity that mirrors its main character’s own worst trait. But as a showcase of pure filmmaking and performance craft, it’s a blessedly singular piece of work. Most impressive is Brnice Bejo, the Argentinean actress who co-stars as upstart Hollywood starlet Peppy Miller. When a chance encounter with Dujardin’s leading man George Valentin lands Peppy on the cover of the influential trade bible Variety (The Artist is nothing if not quaint), she creatively leverages her newfound notoriety to bring her spunk to the big screen. Her eventual ascent as the first star of the talking-picture era resembles the inverse of George’s own path, but her memory of George as a movie legend — a star in any era — spurs her to act when the deposed king looks as though he might penetrate rock bottom. Bejo’s physicality in the role is otherworldly, from her flailing limbs in the dance sequences to her spectrum of expressions and reactions along her route to fame. Peppy is us, really, both a witness to the shift in the way we make, watch and enjoy movies as well as a partial observer to this great man’s demise. She aspires to his status, but without the craven, cutthroat agenda we resent in so many of today’s fame seekers. Yet she is also a leading lady in the classic tradition. Bejo’s respect for the greats reflects in her sly emulation of them, anchored in six months of research into everything from Janet Gaynor’s Oscar-winning silent work to Gloria Swanson’s autobiography. “What was important for me was that I had to find a way of being an American actress — which I’m not,” Bejo told viewers this morning at Lincoln Center. “I’m from Argentina, and I live in France. So, a lot of contradictions. But I watched Murnau and Borzage and […] my inspiration came from a lot of movies. Especially the young Joan Crawford, when she was 20, 25 years old. She was very crazy; she had a lot of freedom. She danced very well. I watched her dancing on the Internet, like, hundreds of times. Her legs are going there and there, and her arms… It was very cute and adorable, and I knew Peppy had to get this adorable thing [so] that men and women can relate to her and love her. You want her to become a star. So I had to find something very spontaneous with a lot of energy. I had to find the ‘peps’ of Peppy.” Also chief among Bejo’s inspirations was Marlene Dietrich. “Marlene had something very special where every time she came into the frame, she had something very intense without doing anything,” Bejo said. “She moved very slowly. The way she holds her cigarette, the way she moves, the way she winks… I looked for so many things. I Googled her! Again and again and again. That was the only thing I practiced: the wink and the whistle. And the tap dancing!” Which also paid off, Bejo said — to a point. “Then Michel was like, ‘Forget Joan, Marlene and Gloria, and just focus on you,’” she explained. “‘Try to find you and the way you want to be Peppy Miller.’ So after six months of working, watching and reading, I just focused on me, I guess.” The results speak for themselves. Well, they don’t speak, exactly, but you know what I mean. Drop back by Movieline this weekend for more about The Artist’s continued NY swing at the Hamptons International Film Festival.

John Singleton Pointing Tupac Biopic?

Overtaking from Antoine FuquaWell that didn't last lengthy. Only recently there have been reviews that John Singleton was speaking to Ice Cube about pointing the NWA movie Straight Out of Compton. Rather, it appears that Singleton is straight out of that project, and to the Tupac Shakur biopic lately vacated by Antoine Fuqua.Fuqua is on make Hunter Killer, getting apparently battled to cast a appropriate Pac (clearly he wasn't interested in balance-mooted Anthony Mackie). Singleton, meanwhile, was kicking his heels awaiting New Line to come to a decision about Compton, and was apparently confronted with the chance of losing the project towards the new Footloose's director Craig Maker. Tupac should have appeared just like a tempting alternative, and Singleton in the helm will make lots of sense, since he really understood Shakur: he directed him in Poetic Justice in 1993.Tupac, just like you need telling, would be a stylish-hop celebrity, with albums much like me From the World, All Eyez on Me and also the Don Killuminati all achieving multi-platinum status. He seemed to be building an very credible acting career before his untimely dying inside a drive-by shooting in 1996. The killer hasn't been formally recognized (although Nick Broomfield's Biggie & Tupac posits some pretty credible ideas) and also the situation remains unsolved.The script has transpired with the hands of Steve Bagatourian (American Gun) and Stephen J Rivele & Christopher Wilkinson (Ali, Nixon), and was most lately re-drafted by John Tucker, whose Damaged City will get going ahead shortly with Allen Hughes pointing. Early versions were structured around Pac's time on Suge Dark night's Dying Row Records, with extended flashbacks to his earlier existence and rise to fame.The film was formerly pencilled set for shooting in LA, NY, Georgia and Vegas, but there's presently no start date. Singleton has yet to formally sign. His Abduction is on release at this time.

Obama, Aretha To Headline MLK Monument Dedication

First Released: October 11, 2011 7:40 PM EDT Credit: Getty Images WASHINGTON, D.C. -- Caption Aretha Franklin works in the Candies Foundation 2011 event to avoid benefit gala at Cipriani 42nd Street in NY City, on May 3, 2011 Leader Obama will provide the keynote address and Aretha Franklin will headline the artists only at that weekends dedication from the Martin Luther King Junior. Memorial around the National Mall. The dedication was postponed from late August due to Hurricane Irene. Journalist Roland Martin would be the emcee. Besides Obama, loudspeakers includes civil privileges leaders Julian Bond, Repetition. John Lewis, the Rev. Jesse Jackson and people from the King family. Journalist Serta Rather will even speak. A ceremonial dedication is going to be held at 11 a.m. due to the memorial, in which the full of soul will work. The towering 30-feet monument may be the first devoted to some black leader around the National Mall. King stands together with his arms entered, created from the stone and searching toward the horizon. (Copyright 2011 through the Connected Press. All Privileges Reserved.) Copyright 2011 through the Connected Press. All privileges reserved. These components might not be released, broadcast, rewritten or redistributed.

Dempseys Bike Run Nets $1M For Cancer Center

First Launched: October 10, 2011 12:03 PM EDT Credit: Getty Premium LEWISTON, Maine -- Caption Patrick Dempsey reaches the 2011 MTV Movie Honours at Universal Art galleries Gibson Amphitheatre in Universal City, Calif., on June 5, 2011Patrick Dempseys bicycle run in western Maine to enhance money for his cancer center has netted about $millions of. The Sun's Sun rays Journal of Lewiston reviews that about 4,000 people needed part inside the third annual fundraising event effort to learn the Patrick Dempsey Center for Cancer Hope and Healing within the Central Maine Clinic in Lewiston. hundreds of bicyclists pedaled between 10 and 100 miles along roads in Androscoggin and Oxford areas through the 2-day event, which ended Sunday. The roads were lined with site visitors entertaining the bicyclists. Dempsey, a nearby of Buckfield, plays Dr. Derek Shepherd on Televisions Greys Anatomy. He founded the Dempsey Center in 2008. (Copyright 2011 by Connected Press. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed) Copyright 2011 by NBC Universal, Corporation. All rights reserved. These elements is probably not launched, broadcast, rewritten or redistributed.

Billy Bishop Would go to War

A Union Pictures discharge of a Strada Film production. Created by Sandra Cunningham, Kaira Fox. Executive producers, Leslie Lester, Albert Schultz. Directed by Barbara Willis-Sweete. Script, John Grey, Eric Billings, according to their play.With: Eric Billings, John Grey.At the same time remarkably polished and pared to necessities, "Billy Bishop Would go to War" will love a extended shelf existence on homevid and cable because the definitive record of perhaps probably the most broadly created Canadian play of history half-century. Co-stars and co-authors John Grey and Eric Billings -- who opened this two-guy show in 1978 and also have ongoing to look occasionally in a variety of revisions and revivals -- are displayed in helmer Barbara Willis-Sweete's elegant upkeep from the musical dramedy's 2010 staging at Toronto's Soulpepper Theater. That alone might make the pic irresistible to theater buffs through the British-speaking world. In line with the real-existence exploits of Billy Bishop, the Canadian-born WWI fighter pilot who grew to become a full time income legend by shooting lower an archive 72 enemy planes, this filmization, such as the original stage version, has Grey supplying piano accompaniment and Billings representing 18 approximately figures (including, obviously, Billy themself) by having an absolute the least props and costume changes. Billy narrates his unlikely ascent from his years like a slackerish underachiever at Canada's Royal Military College (where he was judged "a charged liar, a cheat and also the worst student, the foot of the barrel") to his near-miraculous, almost accidental heroics like a pilot in Europe to his eventual recall from active duty by military commanders who did not wish to risk unhealthy publicity if "a full time income colonial figurehead" were wiped out for action. Throughout his war time exploits, Billy divides his time between talking along with other figures -- all performed by Billings with little, if any, disguise -- and pantomiming misadventures while billed with alternating power of pride and terror. Among the highlights is Billy's account of his first kill, throughout an aerial dogfight Billy apparently won while he was more adrenalized than afraid. This Years Soulpepper Theater production obviously stressed for an unparalleled degree that "Billy Bishop Would go to War" is really a memory play, read with a protagonist searching back several decades. Within this version, Billings (who, at 62, has become exactly the same age Bishop was when he died) seems in robe, slip-ons and pajamas, and reacts inside a manner recommending a diminishing but still vital golden-ager -- a military hospital patient, possibly -- who can't suppress stirrings of pride and nostalgia, but whose look at his lengthy-ago gallantry is tinged with cynicism and melancholy. Throughout musical interludes varying from ironic to impassioned, wistful to rollicking, Peterson's Billy comments on from the necessity to sustain a person's awesome in fight towards the ineluctable arbitrariness of existence and dying. Some auds might think the pic pushes way too hard for contemporary relevance throughout its final moments, because the camera discloses a heretofore unseen audience for that onstage performance by Billings and Grey. Other audiences, however, need the gesture as appropriate to underscore how "Billy Bishop Would go to War" will, regrettably, be forever timely.Camera (color, HD), Milan Podsedly editor, Susan Maggi production designer, Teresa Przbylski seem, Sanjay Mehta assistant director, Pazz Neglia. Examined at Toronto Film Festival (Contemporary World Cinema), Sept. 14, 2011. Running time: 85 MIN. Contact the range newsroom at news@variety.com

Five

Jeanne Tripplehorn stars in "Five" (Pearl episode) Filmed in Los Angeles by Echo Films, Chestnut Ridge Prods. and Freestyle Picture Co. in association with Sony Pictures Television. Executive producers, Jennifer Aniston, Paula Wagner, Marta Kauffman, Kristin Hahn, Kevin Chinoy, Francesca Silvestri; co-executive producer, Michael Wiese; producer, Nellie Nugiel; music, Lorne Balfe; casting, Randi Hiller. 120 MIN."Charlotte" Director, Demi Moore; writer, Stephen Godchaux. With: Ginnifer Goodwin, Annie Potts, Josh Holloway, Jennifer Morrison, Ava Acres, Carla Gallo, Aisha Hinds, Autsin Nichols."Mia" Director, Jennifer Aniston; writer, Wendy West. With: Patricia Clarkson, Tony Shalhoub, Kathy Najimy, Xander Berkeley, Romy Rosemont, Jeanne Tripplehorn."Cheyanne" Director, Penelope Spheeris; writer, Howard J. Morris. With: Lyndsy Fonseca, Taylor Kinney, David Eigenberg, Jeanne Tripplehorn. "Lili" Director, Alicia Keys; writer, Jill Gordon. With: Rosario Dawson, Jenifer Lewis, Tracee Ellis Ross, Jeffrey Tambor, Jeanne Tripplehorn."Pearl" Director, Patty Jenkins; writer, Deirdre O'Connor. With: Jeanne Tripplehorn, Bob Newhart, Ravi Patel, Alan Ruck, Scott Wilson, Talyan Wright.Wearing ribbons and outfitting football players in hot pink may be a great way to acknowledge Breast Cancer Awareness month, but they don't bring home the complexity of emotions and consequences associated with the illness like "Five," the star-studded original movie from Lifetime. With a dream team of producers, directors, writers and stars, this is more than a message movie; it's artful storytelling at its finest, focusing on the human considerations of a disease that afflicts one in eight women. While star wattage is on display throughout, it is a feeling of sisterhood that makes "Five" all the more powerful. More than anything, this collaboration subtly reflects the subject itself: Cancer doesn't discriminate against egos, paychecks or careers, but cuts across all dividing lines of society. What these five vignettes do so well is represent a broad spectrum of stories without looking like pie-chart storytelling. Each segment, with its own distinct feel and character, could stand alone, yet are woven together in sentiment, united in a common theme. Jeanne Tripplehorn, as an oncologist named Pearl, brings a layer of continuity by appearing in all five stories. Demi Moore's piece, "Charlotte," the first of "Five," is a flashback to 1969 -- a time when emotions, cancer and death were just whispered discussions among adults. Told from a child's point of view, viewers feel the confusion, mystery and sadness of 7-year-old Pearl (Ava Acres) who can't understand why her mom, Charlotte (Ginnifer Goodwin), is so sick. It doesn't help that none of the adults, especially her despondent father (Josh Holloway), ever tells her the truth. Moore captures the out-of-body experience of personal tragedy through observational camera work, and creates a distinct retro feel as the story explores the intersection of personal and global events -- here, the first moon walk and Charlotte's last day. Jennifer Aniston is behind the camera for "Mia," a unique look at a cancer patient's unexpected second chance. Aniston's take on sickness, recovery and grief is not always linear. There are relapses, setbacks and moments of unexpected joy and laughter in the worst possible moments. Patricia Clarkson displays all of that as the formidable Mia, who "has a few things to get off what's left of (her) chest before it's too late." If the Charlotte vignette suggests that events in our lives determine who we are, Mia's story illustrates the distinction between those who run to us and those who flee in a time of need -- and, through Clarkson's performance, delivers the most spirited voice of a cancer patient. "Cheyanne," directed by Penelope Spheeris, focuses on the atypical in terms of diagnosis, culture and image -- but is possibly the most moving. Cheyanne (Lyndsy Fonseca) is a newlywed stripper whose husband Tommy (Taylor Kinney) is the muscle for a loan shark. Her diagnosis with a severe form of breast cancer is not only an economic hardship, it threatens her very identity. The juxtaposition of the tough and the tender is brought home as Tommy finds help and advice from the degenerate gambler Lenny (David Eigenberg) he's hired to beat up. Similarly, Alicia Keys' story "Lili" is less about cancer itself than its effect on family and friends. Lili (Rosario Dawson) not only has to deal with her own diagnosis, but the reaction of her overbearing mother Maggie (Jenifer Lewis) and her competitive sister (Tracee Ellis Ross). Keys' vignette is about perspective -- a view of cancer through another's eyes, including a man diagnosed with breast cancer (a great cameo by Jeffrey Tambor). Of the five, it's the best example of laughter through tears. "Pearl" wraps up the project, not by tying loose ends together but by eloquently and poignantly bringing closure. Director Patty Jenkins uses myriad shots looking through the windows of Pearl's life -- a fly-on-the-glass approach that is surprisingly personal. If there's a message to be brought home here, it's that until a cure is found, there will always be stories like these to tell. Contact the Variety newsroom at news@variety.com