'Men in Black 3' Trailer: Will Cruz Time-Jumps In to the Past in order to save Tommy Lee Johnson

.publish-content img Producing 'Men in Black 3' was trapped with everything else from financial issues to trailer issues. As with: Will Smith's mega-trailer was instructed to move from the SoHo street in Manhattan it was parked on throughout shooting due to neighbor complaints. The 'Men in Black 3' trailer trailer does not seem to be as large of the problem on first glance. The under two-minute tease reminds you from the 'MIB' world -- aliens walk in our midst, Cruz causes it to be look "gooood" -- whilst establishing the plot from the threequel: Agent K (Tommy Lee Johnson) has really been "dead for more than 4 decadesInch (SFX: thunderclap), so Agent J (Cruz) must go in time for you to save him. It's like 'Fringe'! But without Pacey. Starring Cruz, Johnson, Emma Thompson and Josh Brolin because the best Tommy Lee Johnson impersonator this side of Vegas, 'Men In Black 3' (in three dimensional, natch) comes to theaters on May 25, 2012. Follow Moviefone on Twitter Like Moviefone on Facebook

OWN Shifting Attention to Its African-American Viewers

Sony Pictures I'm very pleased to bring you the eighth episode of "Feinberg & Friends," a podcast about the awards race that airs on The Race every week.our editor recommendsFEINBERG & FRIENDS, Ep. 7: Scott and Showbiz411's Roger Friedman on Awards RaceFEINBERG & FRIENDS, Ep. 6: Scott & Awards Daily's Sasha Stone on Awards Race (Audio)FEINBERG & FRIENDS, Ep. 5: Scott & The Film Experience's Nat Rogers on the Awards Race (Audio)FEINBERG & FRIENDS, Ep. 4: Scott & Gold Derby's Tom O'Neil on the Awards Race (Audio) Each episode features a discussion between me and a different guest -- a film blogger, critic or journalist of some other variation -- about 10 different awards-related topics (which we list in the text accompanying the audio so that you know exactly what you're signing up for) and runs for approximately 30 to 40 minutes (so that if one topic is not of particular interest to you it will only be about three or four minutes before we're on to the next one, which hopefully will be). I was delighted that my friend Melissa Silverstein, who runs the blog Women and Hollywood (which looks at Hollywood and the awards race through the prism of feminism), agreed to join me for this episode. I really enjoyed our chat, during which we tackled the following 10 questions... 1. The Girl with the Dragon Tattoo and Extremely Loud and Incredibly Close -- the last two awards hopefuls to screen -- are now out of the bag. Does it seem like either of them are game-changers in the best picture Oscar race? 2. This year's best actress race features portrayals of a wide variety of female characters, from the first woman duly-elected to lead a western power (Meryl Streep in The Iron Lady) to a cross-dresser (Glenn Close in Albert Nobbs) to a bisexual hacker (Rooney Mara in The Girl with the Dragon Tattoo) to a self-proclaimed "bitch" (Charlize Theron in Young Adult). What do women -- and particularly feminists -- think about this field? 3. As THR reported earlier this week, it appears as if The Help faces an uphill battle to win the best picture Oscar, in large part because of the fact that the Academy's gender breakdown is belived to be roughly 2-to-1 male. Can it overcome that? 4. Virtually everyone acknowledges that The Artist and War Horse are two locks for best picture nominations, and that either might even win. Why, though, are some beginning to strenuously disparage the two films for being too lightweight and too schmaltzy, respectively? 5. It has been a tale of two films this week for Focus Features: Tinker Tailor Soldier Spy, which the studio has long regarded as its strongest best picture prospect, was shut out by the early awards-dispensing groups, but Beginners, which it had long regarded as a contender primarily for best supporting actor (Christopher Plummer) and best original screenplay (Mike Mills), started showing up everywhere. Should we read into the results? 6. The controversial NC-17 film Shame began its platform release last weekend and made a lot of money from just a few theaters. Will Academy members be similarly inclined to check out a film about sex addiction that features scenes of full-frontal male and female nudity and all sorts of sex acts? 7. There are several films in this year's awards race that were directed by a woman, including The Iron Lady (Phyllida Lloyd), Pariah (Dee Rees), We Need to Talk About Kevin (Lynne Ramsey), and The Whistleblower (Larysa Kondracki). But, two years after Kathryn Bigelow (The Hurt Locker) became the first woman to win the best director Oscar, have things actually gotten any easier for women directors? 8. As THR noted on Wednesday, Jessica Chastain has given strong supporting personalities in no fewer than five 2011 awards contenders, each of which is being pushed by a different studio -- Fox Searchlight's The Tree of Life (5/27), Disney's The Help (8/10), Focus Features' The Debt (8/22), Sony Pictures Classics' Take Shelter (9/30), and The Weinstein Company's Coriolanus (12/2). Will having so many films in contention prevent her from garnering enough votes to get nominated for any one of them, or could she still pull off a nod? 9. There are certain technological references in David Fincher's The Girl with the Dragon Tattoo that seem likely to go over the heads of older Academy voters, just like several in Fincher's previous film, The Social Network. Might this hurt the film's best picture Oscar prospects? 10. This week, THR revealed its 20th annual "Women in Entertainment" list of the most powerful females in the entertainment industry. What should we make of who did -- and also who did not -- make the list? Give it a listen... War Horse Women in Entertainment The Artist The Girl With the Dragon Tattoo Extremely Loud and Incredibly Close

AFM stays in Santa Monica

The American Film Market will stay in Santa Monica through 2017, spurning tries to slowly move the beachside film sell to downtown La. The Independent Film & Television Alliance stated Thursday that new contracts could keep the AFM in the Loews Santa Monica Beach Hotel, its home since 1991, using the confab ongoing to use additional exhibition space at JW Marriott's Le Merigot Beach Hotel with conferences ongoing in the Fairmont Miramar Hotel & Bungalows."We relentlessly investigated every option to guarantee the AFM might have the very best lengthy-term home," stated IFTA chairman Paul Hertzberg inside a statement. "We anticipate a lot more effective marketplaces using the beach as our backdrop." IFTA had confirmed in September it was settling to relocate the 2013 AFM to L.A. Reside in downtown La. The association stated in September that moving to downtown La means lower hotel and exhibition costs for purchasers and retailers and screening venues in the Regal Movie theaters and Nokia Theater -- which by 2014, you will see more rooms in hotels surrounding L.A. Live compared to the Loews Santa Monica area.But the possibilities of a move from Santa Monica triggered resistance finally month's AFM, including a web-based petition signed by reps of IFDC, Artists View, Constantin, UFO, W2 and Imagem and saying that the downtown location would restrict participants' capability to meet easily. "This can divide participants who will need to run all day long lengthy to be able to deal with their conferences," the petition stated. "This can just be tiring, as well as developing a more demanding atmosphere generally. And, as a result, participants might want to shorten their stay, that will deeply modify the business from the market. A less competitive market will result in less attendance and, ultimately, towards the extinction from the market."The petition also noted the Independent Spirit Honours attempted this year to maneuver from Santa Monica to downtown L.A. however moved to the beach this past year."We don't want to become parked in soulless spaces in the center of a crowded downtown L.A.," it stated. "You want to meet and do our business serenely if at all possible. Comfort and prestige would be the secrets to some effective market."IFTA leader-Boss Jean Prewitt stated Thursday in statement, "Our mentioned goal from the beginning of the process is to supply the best atmosphere, assets and value for that world's purchasers and retailers and, after lengthy and careful deliberations, we feel residing in Santa Monica will achieve all individuals goals." IFTA noted within the announcement that Santa Monica is going to be "changed" by a number of public enhancements and development projects which will considerably enhance AFM such as the following: AMC Entertainment's cinema complex with 12 screens, including an Imax theater, will open at the end of 2014 or early 2015. The Santa Monica Social Auditorium is going to be rehabilitated and broadened, supplying a venue for red-colored-carpet premieres and likely to be carried out late 2014. A minimum of 700 rooms in hotels will be included to the downtown area, including mid-listed hotels from Marriott and Hampton Motel. An easy Metro Rail terminal at 4th Street and Colorado Avenue, a five-minute walk in the Loews, is anticipated to become operational in 2015. A seven-acre park on Sea Avenue directly across in the Loews is scheduled to finish at the end of 2013 together with an adjoining new mixed-use urban village with restaurants and shops for 2014.Dates for that approaching AFMs are March. 31-November. 7, 2012 November. 6-13, 2013 November. 5-12, 2014 November. 4-11, 2015 November. 2-9, 2016 and November. 1-8, 2017. IFTA stated that research in the Santa Monica Convention and Site visitors Bureau estimations the AFM will lead a lot more than $100 million towards the local economy within the next six years.The 2011 market saw the amount of purchasing companies rise 8% to 718 from 664 this year purchasing professionals elevated 7% to at least one,523 versus. 1,417 last year and overall attendance rose 4% to 7,988 versus. 7,695 this year. Contact Dork McNary at dork.mcnary@variety.com

ABC vet Brian Frons to depart network

FronsDummerABC is doing an extreme makeover of its daytime programming division as longtime daytime prexy Brian Frons prepares to exit the network in January.ABC is creating a new wing, Times Square Studios, to develop entertainment and unscripted fare for daytime and syndication. It will be headed by Vicki Dummer, ABC's senior veep of current series and specials, who has been upped to exec veep of Times Square Studios, current series and specials.Dummer will remain based in L.A. ABC has tapped CBS News alum Abra Potkin to to serve as senior veep of east coast programming and development for Times Square Studios. ABC Daytime veteran Ann Lewis Roberts has been upped to senior veep of West Coast programming for the wing.Dummer will continue to report to ABC Entertainment prexy Paul Lee.Frons has headed ABC's daytime programming operation since 2002. The exec has endured a drubbing during the past year from soap opera fans after ABC made the decision to ax the vintage serials "All My Children" and "One Life to Live" in favor of lower-budget talkers "The Chew" and "The Revolution" (which bows in January).ABC brass stressed that it was Frons' decision to step down at the end of his current contract, which expires next month."Brian Frons has been the driving force in our successful daytime division since joining us in 2002, and while we understand his decision to leave at the end of his contract, we're sad to see him go," said Disney-ABC TV Group topper Anne Sweeney. She called the decision to shift the daytime programming operation to a development-focused production wing an "opportunity to bring greater creative resources, development strength and operational flexibility to this key area of our business." The restructuring marks a big vote of confidence from Lee and Sweeney in Dummer, an Alphabet vet who has held a range of programming posts at the net since 1996."Vicki's broad experience across reality and scripted makes her the perfect person to lead the charge," said Lee. Contact Cynthia Littleton at cynthia.littleton@variety.com

Past Seasons Of Community Is Going To Be Accessible On Hulu

Up to now, only the five latest cases of the The brand new the new sony TV-produced Community were around the NBCUniversal-backed Hulu streaming service. Beginning today, the three seasons in the awesome new comedy will probably be around the subscription-based Hulu Plus. The move comes much like NBC grounded Community for midseason (the series is predicted to return in the finish of spring), so fans in the show will have a way to get together with old episodes through the hiatus.

Caitlin Plays Herself

Joe Swanberg and Caitlin Stainken in "Caitlin Plays Herself."A Swanberry production. Produced by Joe Swanberg. Directed, edited by Joe Swanberg. Screenplay, Caitlin Stainken, Swanberg.With: Caitlin Stainken, Joe Swanberg, Frank V. Ross, Spencer Parsons, Megan Mercier, Kurt Chiang, Tim Reid, Adam Wingard.The latest in Joe Swanberg's self-reflective series about artistic indecision (after "Art History," "Silver Bullets" and "The Zone") focuses on real-life performance artist Caitlin Stainken (who also co-wrote) and her intermittent relationship with an indie filmmaker played, unsurprisingly, by Swanberg himself. Composed largely of fixed, lengthy medium shots and long shots, "Caitlin Plays Herself" is chopped up into discrete, self-enclosed tableaux, kind of like an American "Vivre sa vie" without the passion, drama or gorgeous imagery. Decidedly understated pic, which bows Dec. 2 in Gotham, is unlikely to change auds' pre-existing opinions of the prolific mumblecore maven. The film opens on a naked Caitlin (Stainken) screaming soundlessly under a deluge of black oil in what turns out to be a performance/theater piece protesting the BP oil spill. Cut to a naked Caitlin in a bathtub, engaged in an argument with Swanberg about nudity and bad playwriting (though for a film that starts with a defense of nudity, Swanberg's film is uncharacteristically genital-free). Their heated discussion opposes the performance artist's work-in-progress aesthetic with the filmmaker's desire for a finished product. Yet Caitlin's urge toward experimentation appears to hold sway, mirrored by the film's lack of segues or continuity between scenes, which feel arbitrarily sectioned off as self-contained setpieces; it's impossible to know from the desultory dialogue how much time elapses between segments. In her on-again, off-again relationship with Swanberg, Caitlin manages to intensify mumblecore's patented social awkwardness into something resembling open-ended theater. Aside from a couple of casual (if awkward) sexual encounters involving guys portrayed by mumblecore helmers Frank V. Ross and Spencer Parsons, the pic features few members of Swanberg's usual eccentric troupe. This leaves the thesping chores to Swanberg, never the most charismatic screen personality, and Stainken, whose very self-possession, even when mired in doubt, offers few points of entry; the lack of assertive personalities further divorces the scenes from any sense of linear narrative. Swanberg's newfound interest in aesthetic formalism forces the humans in his compositions to vie for dominance against, say, an enormous wind-tossed willow tree or an abstract painting in the dead center of the frame; overall effect is to isolate the human figures in limbos of their own making. "Caitlin" marks Swanberg's sixth feature this year (with "Uncle Kent" and "Autoerotic" joining the aforementioned three). Apparently the filmmaker's answer to creative doldrums is increased productivity.Camera (color, HD), Adam Wingard, Swanberg; music, Keith Ruggiero; sound, John Bosch. Reviewed on DVD, NY, Nov. 27, 2011. Running time: 69 MIN. Contact the Variety newsroom at news@variety.com

Genre automobiles take high road

'Tinker, Tailor, Soldier, Spy''Drive''Girl while using Dragon Tattoo''Rampart''Moneyball'After adapting Stephen King's "The Shining," a defiant Stanley Kubrick told interviewers he wouldn't apologize to create a genre film.Nowadays, auteurs have to give you little justification for diving to the kind genre territory once overlooked as less than honours-worthy. If "The Godfather" films paved the means by which for the next gangster film, "The Departed," to reap most likely probably the most coveted Oscar gold, then couldn't killer movies, inside the wake of "The Silence in the Lamb," reap similar returns?Really, numerous helmers inside the search with this particular year's director honors handled genres that after held minimal appeal for serious filmmakers. From David Fincher coping with the murder mystery ("The Woman While using Dragon Tattoo") to Bennett Burns breaking new ground while using sports pic ("Moneyball") to Tomas Alfredson breathing fresh existence to the espionage thriller ("Mess Tailor Soldier Spy"), genre films are increasingly being reconfigured and transformed by helmers who will not be pigeonholed."My finest problem with this particular film was exactly how should we justify our existence," states Oren Moverman, whose corrupt cop ode "Rampart" needed shape in the first draft composed by genre master James Ellroy. "It is not exactly a completely new new genre that's not looked into. You will discover plenty of brilliant individuals who've attacked (it)."For your Israeli helmer, whose directorial debut "The Messenger" nabbed some Oscar nominations couple of years ago, the very best searching area of the bad cop motif was the options of utilizing the genre and breaking it lower. The finish result hearkens to Robert Altman, whose "The Extended Goodbye" up-to-date Raymond Chandler's jaded private dick, Philip Marlow, in to a shaggy, disheveled Elliot Gould living among the hippy-dippy Hollywood Slopes in the mid-'70s."Instead of choosing for your that was expected, that's basically a heavily plotted story with twists and turns and conspiracies and duplicitous figures and many types of people wonderful things we love to at first of moviemaking," Moverman states, "we desired to determine if there's another approach where we are in a position to really go much much deeper and possess our plot and narrative becoming an excuse to educate yourself regarding and very transform it into a character study. We saved thinking about genre constantly, but within that, i had been thinking exactly how can we mix things up and the way can we cure it concurrently.InchSimilarly, "Bridesmaids'" Paul Feig handled to reinvent a subgenre -- the wedding comedy -- so completely traversed he avoided talking about this throughout pre-production. "If you say it's a movie of a wedding, people eyes just glaze over because of that feeling, 'Oh it's another one of people movies,' " states Feig, whose romp featured the kind of gross-out humor associated with buddy comedies and switched it on its ear by getting an exciting-female cast."For people, the wedding only decided to function as the motive pressure to see a more relatable story, the women inside a terrible devote her existence, getting a bit of the breakdown because she's afraid she'll lose her nearest friend," according to him.Likewise Burns saw "Moneyball" just like a character journey to begin with, rather than an uplifting sports movie. Though "Moneyball" weaves such common sports styles as overcoming adversity as well as the triumph in the underdog, the director deliberately avoided the trappings that are manifestation of the genre."It is not it's not just a baseball film, it's just the film is a lot more than you may typically expect in the baseball movie or possibly a sports film," states Burns, who received a director nomination for 2005's "Capote." "The film climaxes and resolves itself inside an unconventional way. It may seem that is gathered with a baseball climax with techniques that's obedient for the genre, but simply what does happen might be the film resolves on one final judgment call, the final value judgment, the decision about how precisely (the protagonist) desires to live his existence."Even though Academy features a extended good status for implementing certain genres, such as the Western as well as the musical, some filmmakers for instance Alfredson bristle considering genre altogether."I wasn't with the genre whatsoever," demands Alfredson, who's revered within the native Sweden for his be employed in comedy but is much better proven to American audiences for the next genre film, the vampire/horror hit "Let the most appropriate one In." "Once I choose material, it is not a very intellectual factor. I choose material that we react physically to, like I laugh or cry."With 'Let the most appropriate one In,' I never considered the horror film or possibly a vampire story. Personally, it absolutely was merely a touching story of a youthful kid. With 'Tinker Tailor,' too, When i first seen it just like a story of friendship and loyalty. The Cold War espionage theme was something from the interesting backdrop."Experts seem to agree. Time referred to as "Mess Tailor" "a film so likely to become an antidote to spy capers it fairly shrieks its subtlety."Meanwhile, other company company directors reason why their so-referred to as genre films really come under another category altogether. Though Nicolas Winding Refn needed home top pointing honors at Cannes for your gasoline-fueled adrenaline hurry "Drive," according to him the film is, really, an appreciation story told inside the elevated reality from the mythic instead of a heist pic."I wasn't developing a movie about cars because I don't have fascination with cars," states the Copenhagen-born, NY-reared director. "You will discover a whole lot vehicle movies available which in fact had bigger budgets. I'd a desire to have developing a movie of a guy who possessed an automobile, as well as the vehicle was additional time of who he was."Ultimately, Alfredson states the whole genre concept is essentially a salesman's construct."I don't consider how a marketing people will label it or what shelf it'll finish off inside the video store," according to him. "That is not my job."Eye round the Oscars: The Director PreviewArt springs eternal Adaptability key when diving to the unknown Sundance kids goal high and wide Genre automobiles take high road Contact the number newsroom at news@variety.com