No Halloween This Year

three dimensional instalment's release date pulledLast summer time, the announcement discovered the interwebs in the Weinsteins' Dimension that Halloween three dimensional could be launched on October 26, 2012. At that time, we mused there did not seem like film to choose that release date, so that as the years have gone us, nothing has made an appearance to disabuse of this notion.Proof, if proof were needed, that isn't well in the Halloween camping has come through, with this release date being formally drawn. Halloween is cancelled this season, kids.The slasher franchise is presently in a condition of some disarray, following a two Take advantage of Zombie films that, shall we are saying, divided audiences.*There is a Halloween three dimensional going ahead to some degree in '09, having a script through the My Bloody Valentine / Drive Angry team of Patrick Lussier and Todd Player, but that no more appears to become the film that's within the works. Shock are convinced that Dimension are "still fielding pitches" for that stabby further adventures of Michael Myers. Hey, perhaps you should write in.*This is a euphemism for "many people did not like them".

New Hunger Games images arrive

The Hunger Games has debuted a trio of new images ahead of the film's release later this month, featuring supporting players Donald Sutherland, Woody Harrelson and Wes Bentley.The first shows Jennifer Lawrence's Katniss receiving some last-minute encouragement from Woody Harrelson's former tribute, Haymitch Abernathy.The next sees Donald Sutherland's wicked President Snow, strolling through an orchard accompanied by head Gamemaker Seneca Crane (Wes Bentley), in a setting that can't help reminding us of The Godfather's orchard scene!Finally, we see some of the film's younger players gathered together, with Isabelle Fuhrman, Alexander Ludwig, Jack Quaid, and Leven Rambin representing some of Katniss' rival competitors.All of which has served to whet our appetites still further for the film's arrival on 23 March. The world will be watching, but the big question is... will you?

'Silent House' Brings The Horror Close To Home

Elizabeth Olsen might be the only real star of note in "Quiet House," moving almost the entire film manually after her figures father is hurt very in the beginning. Using the much looking at her shoulders, she must be stored in whatsoever occasions, especially through the movies ultra-frightening parts where her feelings basically finish up being the audiences. Speaking with MTV News, Olsen was candid about how precisely she experienced the right mindset for people "scared as sh--" moments. "I still say I have have a very fatalistic imagination however guess when Im filming, all I consider happens when close the enemy is," she mentioned. "And so the closer I'm them coming, thats kind of the pole depending on how I measure things." Clearly, you'll find moments when that pole will receive a good deal shorter as well as the enemy is suitable by. "Thats when you want to scream and you also cant because then theyll find you," she mentioned getting fun. Theres one or more scene in "Quiet House" when the thief is simply a ft or two from Olsen, perfectly assume she knows what shes talking about. Happening, Olsen referred to how she dug deep to get the motivation on her behalf moments. "It always feels as if when you're somewhat kid and you also tell your mother like, No, you'll be able to leave me inside the vehicle advertising media are for the ATM, Im fine," she mentioned. "Then youre afraid that a person can come go into the vehicle. That exact imagination is when The year progresses to with this particular movie." "Quiet House" is going on Friday (March 9). Reveal everything you consider "Quiet House" inside the comments section and also on Twitter!

Andrew Keenan-Bolger's Favorite Performance

Andrew Keenan-Bolger's Favorite Performance March 4, 2012 Photo by Catherine Ashmore The cast of Ragtime in its Toronto pre-Broadway tryout. "It was the music of something beginning."There's a moment in every actor's life where everything comes into focus. A time when you realize there's strength in art, and you feel an urge to be a part of it. For many that moment happens onstage, interpreting a work of incredible magnitude. For some that moment strikes while sitting in an audience, viewing the workings of something truly great. The first time I saw the musical "Ragtime" was the moment I surrendered to the power of musical theater.The Christmas of 1996, my sister Celia stuffed my stocking with a concept album of an exciting new show. She was a musical theater student at the University of Michigan at the time, and "Ragtime" was the album her classmates were currently obsessing over. It was right around the time when masses of consumers were making the shift from tapes to compact discs. I remember spinning that rainbow disc around my finger, wondering if she remembered that the Keenan-Bolger household didn't actually own a CD player. Luckily, Celia had acquired a Discman, so we sat on the wrapping paperstrewn carpet and listened through her headphones as she used our old tape deck to dub me a copy. To say that I immediately fell under the spell of lyricist Lynn Ahrens and composer Stephen Flaherty would be an understatement. "This is better than 'Titanic!' " I remember exclaiming. The music was unlike anything I'd ever heardtrack after track of songs that sounded both pastiche and altogether brand-new.When the producers announced the show would be having an out-of-town tryout in Toronto before moving to Broadway, my siblings and I begged our parents to make the road trip from Detroit to check it out. We were way up in the cheap seats, and the conductor looked like a peanut, but as the opening chords of the prologue began, it hardly mattered where you were sitting.The opening number introduced the three groups of peoplethe Harlem blacks, the Eastern European immigrants, and the New Rochelle WASPs. The choreography ingeniously moved the three tribes as separate units, countering and confronting each other, finally culminating in all of them facing the audience and charging downstage. Sitting in my balcony seat, the strangest thing happened. As the final chords of the song played, I found myself with tears streaming down my face. I couldn't explain why. As an 11-year-old, my emotions up to that point were easily explainable and correlated to tangible happenings. If someone said something funny to me, I would laugh. If someone said something hurtful, I would cry. But there was nothing intrinsically sad going on onstage, yet I was nevertheless moved to tears. I think this was the first time I fully understood the power of musical theater as an art form. If crafted artfully and honestly, a musical could cause all reason and rationale to fall away, leaving only room for raw human emotion. Words on their own carry a certain weight, but when paired with the perfect phrase of music, they are able to express something deeper and more truthful than any poem or essay. I remember my parents clocking what was going on with their son but choosing not to acknowledge it. I'm guessing they came to a realization toothat they would inevitably be paying for another child to go to art school.I'm thankful to say that I eventually got the chance to perform in this great piece. I landed the role of The Little Boy when the Broadway show hit the road. Not only did I get to perform that legendary opening number, but I got to stand center stage in the very eye of the hurricane. Fifteen years later, I still consider "Ragtime" as the highlight of my career and the show itself a yardstick against which I measure every other great American musical.Andrew Keenan-Bolger's Broadway credits include the current "Newsies," "Mary Poppins," "Seussical," and "Beauty and the Beast." He's toured in "The 25th Annual Putnam County Spelling Bee," "How the Grinch Stole Christmas," "Mary Poppins," and "Ragtime."As a filmmaker, he's had his videos featured on the Huffington Post, Best Week Ever, and PerezHilton.com. Andrew Keenan-Bolger's Favorite Performance March 4, 2012 The cast of Ragtime in its Toronto pre-Broadway tryout. PHOTO CREDIT Catherine Ashmore "It was the music of something beginning."There's a moment in every actor's life where everything comes into focus. A time when you realize there's strength in art, and you feel an urge to be a part of it. For many that moment happens onstage, interpreting a work of incredible magnitude. For some that moment strikes while sitting in an audience, viewing the workings of something truly great. The first time I saw the musical "Ragtime" was the moment I surrendered to the power of musical theater.The Christmas of 1996, my sister Celia stuffed my stocking with a concept album of an exciting new show. She was a musical theater student at the University of Michigan at the time, and "Ragtime" was the album her classmates were currently obsessing over. It was right around the time when masses of consumers were making the shift from tapes to compact discs. I remember spinning that rainbow disc around my finger, wondering if she remembered that the Keenan-Bolger household didn't actually own a CD player. Luckily, Celia had acquired a Discman, so we sat on the wrapping paperstrewn carpet and listened through her headphones as she used our old tape deck to dub me a copy. To say that I immediately fell under the spell of lyricist Lynn Ahrens and composer Stephen Flaherty would be an understatement. "This is better than 'Titanic!' " I remember exclaiming. The music was unlike anything I'd ever heardtrack after track of songs that sounded both pastiche and altogether brand-new.When the producers announced the show would be having an out-of-town tryout in Toronto before moving to Broadway, my siblings and I begged our parents to make the road trip from Detroit to check it out. We were way up in the cheap seats, and the conductor looked like a peanut, but as the opening chords of the prologue began, it hardly mattered where you were sitting.The opening number introduced the three groups of peoplethe Harlem blacks, the Eastern European immigrants, and the New Rochelle WASPs. The choreography ingeniously moved the three tribes as separate units, countering and confronting each other, finally culminating in all of them facing the audience and charging downstage. Sitting in my balcony seat, the strangest thing happened. As the final chords of the song played, I found myself with tears streaming down my face. I couldn't explain why. As an 11-year-old, my emotions up to that point were easily explainable and correlated to tangible happenings. If someone said something funny to me, I would laugh. If someone said something hurtful, I would cry. But there was nothing intrinsically sad going on onstage, yet I was nevertheless moved to tears. I think this was the first time I fully understood the power of musical theater as an art form. If crafted artfully and honestly, a musical could cause all reason and rationale to fall away, leaving only room for raw human emotion. Words on their own carry a certain weight, but when paired with the perfect phrase of music, they are able to express something deeper and more truthful than any poem or essay. I remember my parents clocking what was going on with their son but choosing not to acknowledge it. I'm guessing they came to a realization toothat they would inevitably be paying for another child to go to art school.I'm thankful to say that I eventually got the chance to perform in this great piece. I landed the role of The Little Boy when the Broadway show hit the road. Not only did I get to perform that legendary opening number, but I got to stand center stage in the very eye of the hurricane. Fifteen years later, I still consider "Ragtime" as the highlight of my career and the show itself a yardstick against which I measure every other great American musical.Andrew Keenan-Bolger's Broadway credits include the current "Newsies," "Mary Poppins," "Seussical," and "Beauty and the Beast." He's toured in "The 25th Annual Putnam County Spelling Bee," "How the Grinch Stole Christmas," "Mary Poppins," and "Ragtime."As a filmmaker, he's had his videos featured on the Huffington Post, Best Week Ever, and PerezHilton.com.

'Common Law' searching for May 11 debut

USA Network has set May 11 since the launch date for newcomer dramedy series "Common Law." Skein, from CBS Television Art galleries and Junction Entertainment, focuses on two cops that are forced into couples therapy to be able to save their professional partnership. "Common Law," searching for 12 episodes and presently shooting in New Orleans, will air at 10 p.m. Fridays, a evening the cabler effectively first demonstrated "Monk," "Psych" and "White-colored Collar." USA Network is organizing the Sarah Shahi-starrer "Fairly Legal" at 9 p.m. Fridays and may use that they like an online insurance lead-looking for the "Common Law" premiere. Just like the broadcast world, Fridays can be tough for cablers to focus on their wares but USA Network bucked the recognition last season when hit series "White-colored Collar" broadcast its first season there. "Common Law" was scheduled to debut Jan. 26, nevertheless the show was gone after summer season -- a regular strong season for USA Network -- after receiving high praise from focus groups. Michael Ealy, Warren Cole, Jack McGee and Sonya Walger star in "Common Law," that's professional produced by pilot director Jon Turtletaub, co-designers Cormac Wibberley and Marianne Wibberley, and Craig Sweeny. In other casting news, Erection dysfunction Begley Junior. will guest star in some approaching episodes. Contact Stuart Levine at stuart.levine@variety.com