See Mark Wahlberg Return To a Life of Duct Tape-Assisted Crime in the Contraband Trailer

Did you guys realize that Mark Wahlberg and Kate Beckinsale were starring in a little heist movie called Contraband? Me neither, but that’s probably because Universal has quietly scheduled the film, from Icelandic director Baltasar Kormkur, for a quiet box office death release next January. But we’re going to need something to watch during that winter wasteland month so let’s take a look and see if super-angry Mark Wahlberg, his abs, and and Kate Beckinsale undressing for the camera can’t motivate us to buy tickets. It kind of looks like a poor man’s Ocean’s Eleven, right? Instead of Brad Pitt and George Clooney casing casinos for hundreds of millions of dollars via ingenius scams involving expensive copycat vaults, world class pick pockets and tiny Chinese gymnasts who can navigate security laser beams, Mark Wahlberg points a gun at someone’s head and then duct tapes fat stacks of cash to his abdomen. Problem. Solved. The problem being that his brother-in-law got him into some trouble and now he owes Giovanni Ribisi’s character (who can place that accent?) a lot of money that he doesn’t have. Looks like it’s time to return to his criminal ways! Look for Contraband, which also co-stars J.K. Simmons, Diego Luna and Giovanni Ribisi, in theaters January 13. [Yahoo!]

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'The Avengers' Assemble on the Cover of EW

If blurry set photos and hand-drawn production art didn't get your 'Avengers' juices flowing, perhaps this might: the Marvel superhero supergroup has assembled for the cover of this week's Entertainment Weekly, and they look positively 'Avengers'-y. Check it out ahead. The film -- which brings together the talents of Robert Downey Jr. (Iron Man), Chris Evans (Captain America), Chris Hemsworth (Thor), Scarlett Johansson (Black Widow) and Mark Ruffalo (Hulk) -- isn't coming out until next May, which may be good since director Joss Whedon could have a little bit of trouble editing it all together. As he told EW, "There is a weird element of: they handed me one of the biggest movies of all time, and I'm making it up as I go." [via EW]

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'The Walking Dead' Season 2: What's Next (Photos)

Gene Page/AMC"The Walking Dead" It's been nearly yearly since AMC's zombie drama first opened up, and has changed in the world created by Robert Kirkman. Frank Darabont remains transformed as showrunner with the No. 2 he introduced in, Glen Mazzara, as well as the series is now offering a 13-episode season together with a legion of latest fans. STORY: 'The Walking Dead': Glen Mazzara on Frank Darabont and also the Fears since the Drama's New Showrunner (Q&A) Walking Dead returns March. 16 due to its extended-anticipated second season, which starts getting a 90-minute installment then AMC's new Chris Hardwick-situated publish-show Speaking Dead summary. STORY: 'The Walking Dead': What Really Happened to Fired Showrunner Frank Darabont Within a screening and Q&A with producers, Mazzara noted that Darabont had already planned the course for your season and didn't plan to deviate from what his transition to showrunner is really a smooth one. Part of that plan will dsicover Ron (Andrew Lincoln subsequently subsequently) and also the gang of kids hunting for a completely new home following a CDC's fiery destruction inside the Season 1 finale. To uncover what's next and discover photos within the Season 2 premiere, titled "What's Approaching Next,Inch follow the link. Email: Lesley.Goldberg@thr.com Twitter: @Snoodit RELATED: 'The Walking Dead' Self-help guide to As being a Zombie AMC The Walking Dead

Keyes Touche ignites 'Blaze'

LONDON -- Former Disney professional Alicia Keyes Touche is creating her first feature pic, "Blaze Get You Started,In . which has begun lensing in New Mexico. Pic, that's co-written and directed by Mateo Frazier and Diego Joaquin Lopez, toplines breakout talents Veronica Diaz-Carranza ("Mamitas," "Taco Shop"), Melissa Cordero ("Language from the Broken Heart"), Elizabeth Pena ("Jacob's Ladder") and Jeremy Ray Valdez ("Constantine"). Raoul Trujillo, Mark Adair Rios and Q'orianka Kilcher also star. Pic notifies the story of Lupe, an ambitious DJ, and her sister, that are fighting to make a living inside the Esperanza Valley, a residential district which has been suffocated by decades of heroin use. Because the dying from the parents, Lupe has looked after her edgy sister, however, if she out of the blue vanishes, Lupe needs into the town's dark underworld. Pic, produced by New Mexico shingle Sandia Productions, is using the state's tax credit to enhance 25% in the pic's budget. Pic is co-produced by Brent Morris and O'Shea Read, and fasten produced by Kerith Lemon, while Peter Touche professional produces. Contact Diana Lodderhose at diana.lodderhose@variety.com

Four boost road grosses

Four of the seven shows pulled in more than $1 million in Week 16 (Sept.12-18). Total box office rose 4.8%, with the first company of "Wicked" moving to Atlanta. First company of "Wicked" also led all shows, with more than $1.8 million in sales. Total gross for the week was $8,419,178.ATLANTA Wicked (M-1st Co.) Fox Theater ($73; 4,440, $2,189,856) (9/14-10/9/11).PW, $1,456,140 in Hartford, Conn.Last (1st) wk, $1,845,000. COSTA MESA, CALIF. West Side Story (M-1st Co.) Segerstrom Center for the Arts ($100; 3,039; $1,488,540) (9/13-9/18/11).PW $1,032,452.Last (2nd) wk, $1,136,785. MEMPHIS, Tenn. Les Miserables (M-1st Co.) Orpheum Theater ($92; 2,424; $1,156,949) (9/12-9/18/11).PW, $1,349,895 in Denver.Last (1st) wk, $1,086,840. OMAHA, NEB. Jersey Boys (M-1st Co.) Orpheum Theater ($80; 2,570, $1,357,740) (9/12-9/18/11).PW, $891,016.Last (2nd) wk, $953,958. PITTSBURGH Wicked (M-2nd Co.) Benedum Center ($82; 2,806, $ 1,640,056) (9/7-10/2/11).PW, $1,612,690.Last (2nd) wk, $1,730,923. SALT LAKE CITY Mary Poppins (M-1st Co.) Capitol Theater ($85; 1,834, $1,094,200) (9/1-9/25/11).PW $766,159.Last (3rd) wk, $722,282. SYRACUSE, N.Y. The Lion King (M-1st Co.) Oncenter Crouse Hinds Theater ($100; 1,926; $1,242,700) (9/6-10/2/11).PW, $922,112.Last (2nd) wk, $943,390. Contact the Variety newsroom at news@variety.com

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Well, Look Who Showed Up for Taylor Lautner's Action Hero Debut at the Abduction Premiere

Everyone was all smiles Thursday night at the premiere of Abduction, which served as the action hero coming out party for Twilight star Taylor Lautner. Director John Singleton was beaming, co-stars Sigourney Weaver and Lily Collins strolled the red carpet, and hey, look! Tween pop star (and rumored former Lautner galpal) Selena Gomez popped up to lend her support! How sweet. And she brought her current paramour, Justin Bieber! Who looks totally thrilled to be there. Really. Launch the slideshow to see which stars hit the red carpet for Abduction. [Photos via Getty Images]

CBS Developing Modern A Virtual Detective, Adapting Mother-Track Mysteries Books

EXCLUSIVE: About the heels of A Virtual Detective obtaining a effective contemporary transformation in features using the Robert Downey Junior.-starring franchise, as well as on public television with Masterpiece Theater’s Sherlock, the famous 1800s British detective is headed for any commercial TV series update. CBS has bought A Virtual Detective, a drama project from CBS TV Galleries and studio-based Timberman/Beverly Prods., that is referred to like a modern undertake the instances from the pipe-smoking private agent produced by Arthur Conan Doyle. Take advantage of Doherty is writing and can executive produce with Sarah Timberman and Carl Beverly. Timberman/Beverly has 2 new series on CBS this fall, Memorable along with a Gifted Guy. In other CBS buys, the network has place in development Mother-Track Mysteries, a set adaptation of Ayelet Waldman’s comedy number of books about Juliet Applebaum, a public defender switched stay-at-home-mother and private eye. Waldman will write the variation, with Jennifer Levin and Sherri Cooper becoming non-writing executive producers. The Mother-Track Mysteries series includes 6 books: The Large Nap (2001), A Playdate With Dying (2002), Dying Will get a period-Out (2003), Murder Plays House (2004), The Cradle Thieves (2005) and Bye-Bye, Black Sheep (2006)

The Very First Guy (Le Premier Homme)

A Studio Canal release (in France)/ 01 Distribution release (in Italia) of the Maison p Cinema/Soudaine Compagnie presentation in co-production with France 3 Cinema and Cattleya. (Worldwide sales: Studiocanal, Paris.) Created by Bruno Pesery, Philippe Carcassone. Executive producers, Riccardo Tozzi, Giovanni Stabilini, Marci Chimenz. Co-producers, Ricardo Tozzi, Giovanni Stabilini, Marco Chimenz. Directed, compiled by Gianni Amelio. In line with the novel by Albert Camus.With: Jacques Gamblin, Catherine Sola, Maya Sansa, Denis Podalydes, Ulla Baugue, Nicolas Giraud, Jean-Paul Bonnaire, Jean-Francois Stevenin, Djamel Stated, Abdelkarim Benhabboucha, Hachemi Abdelmalek. (French, Arabic dialogue)Gianni Amelio uses this kind of excessively subdued approach in the filmization of Albert Camus' final, incomplete novel, "The Very First Guy," the whole is under the sum of the its choose, frequently beautiful passages. Though Camus' fictionalized self-portrait is basically occur the 20's Algiers of his childhood, Amelio sensibly selects to balance nowadays with 1957 Algeria, once the author returns to some country verging on revolution. Of course, the director's jobs are consummately controlled, but here much humbler than his best films, like "L'America," and destined for just marginal returns in Euro marketplaces. Camus' manuscript, still a piece happening during the time of his dying in a vehicle accident, largely stressed the first, poverty-stricken many years of his imaginary alter ego, Jacques Cormery (Jacques Gamblin). But Amelio's script works occasions right into a flashback-flashforward structure that enables space to think about the politics recently-'50s Algeria, and also the protag's uncertain position within them. Paralleling this really is Cormery's make an effort to understand his father, who died in WWI only a year after he was created. The search comprises the film's opening images, staged, as through the film, with fluidity and sophistication by Amelio and cinematographer, Yves Cape, who pushes HD color to painterly levels. Jacques in 1957 searches for his father's grave inside a French battleground graveyard, and realizes that he's over the age of his progenitor, wiped out at 25. The idea registers with Jacques, there is however a bit more reflection onto it, representing a pattern through the film of notions elevated and never fully investigated. Upon his subsequent go back to his native Algeria, getting resided making his literary status in France, Jacques encounters the approaching political storm. He's resented through the pieds-noirs -- in france they local people who're rising facing the progressively militant Arab majority, such a long time underneath the thumb of French colonialist occupiers. Inside a superbly staged scene, he advocates co-existence and respect, and denounces violence, for an emotional college lecture hall audience. He's attacked with boos and insults. This, in addition to a brief but effectively helmed terrorist bombing sequence along with a subplot including Jacques' tries to free the jailed and condemned militant boy (Hachemi Abdelmalek) of the former Arab classmate (Abdelkarim Benhabboucha in 1957 Djamel Stated in 1924), are new material not in Camus' released manuscript. They assist to describe the causes of Jacques' general and tolerant sights of Arab Algerians, and therefore are somewhat one of the film's better moments, so far as they're going. Jacques' primary reason behind visiting Algeria would be to visit his mother, Catherine (an excellent Catherine Sola), that can bring him some satisfaction, even while it triggers reminiscences of his difficult childhood. Such moments include Jacques' roughly dominant grandmother, his home's absolute matriarch (superbly performed by Ulla Baugue), who sets your family rules, which even Catherine follows. Jacques' encouraging teacher Mr. Bernard (Denis Podalydes), who recognizes the boy's intellectual gifts, is definitely an almost polar opposite towards the fearsome grandmother. He finally allows Jacques to go to senior high school on the scholarship, clearing him from the existence employed in the factory where his kind but illiterate uncle (Nicolas Giraud) labors. These more time, earlier-set passages in "The Very First Guy" are usually probably the most conventional, and often pull Amelio right into a more standard filmmaking mode. The novel's natural incompleteness prevents the pic from as being a rounded narrative, and also the overall tone is simply too gentle and aestheticized to completely dramatize Algeria in crisis. Gamblin's contained performance keeps the film's temperature in a awesome level, although the actor's resemblance to Camus is really a plus. Aside from the magnificent Baugue and Sola, Podalydes supplies a sensitive performance as Jacques' mentor (despite iffy aging makeup). Time changes are subtly handled by Amelio and editor Carlo Simeoni, while Franco Piersanti's music alternates between moody Arab motifs and conventional cues made to trigger feelings.Camera (color, HD), Yves Cape editor, Carlo Simeoni music, Franco Piersanti production designer, Arnaud p Moleron art director, Etienne Rohde costume designer, Patricia Colin seem (Dolby Digital), Francois Waledisch supervisory seem editor, Elisabeth Paquotte seem re-recording mixer, Stephane Thiebaut effects, Bertrand Levallois visual effects supervisor, Bertrand Levallois assistant company directors, Jean-Luc Roze, Charles Senard casting, Nicolas Lublin. Examined at Toronto Film Festival (Special Presentations), Sept. 10, 2011. Running time: 105 MIN. Contact the range newsroom at news@variety.com

EXCLUSIVE: 'Johnny British Reborn' Clip Won't Die Consequently From The Swiss!

Eight years have passed since we last seen the best British Intelligence agent whatever person were living. No, clearly we're not talking about Jason Bourne he's second fiddle at best when compared to the type of Johnny British, the bumbling spy who certainly are "Reborn" this fall. As MTV News' Fall Movie Preview week draws with a close, we're happy to offer you a distinctive have a look at Rowan Atkinson in "Johnny British Reborn." Initially, you'd be pardoned for mistaking "Reborn" for just about any scene completely from Christopher Nolan's "Beginning," and still provide a matter of seconds the parallels will finish pretty damn quickly.

Will Glenn Close's Big Screen Transformation In 'Albert Nobbs' Equal Oscar?

Could Albert Nobbs nab its main star a Best Actor Oscar at next year's Academy Awards? Not possible, but close! Glenn Close, that is.our editor recommendsToronto Film Festival: 13 Films to KnowTelluride 2011: Glenn Close on Life, Work, and the Prospect of Oscar Recognition for 'Albert Nobbs' (Audio Interview) Albert Nobbs: Telluride Film ReviewA Dangerous Method: Venice Film ReviewToronto 2011: 10 Hot Titles Buyers Dare Not MissToronto 2011: Buyers to See First Footage of Ryan Gosling and Bradley Cooper's 'The Place Beyond the Pines' The actress is getting lots of awards-season buzz after her gender-swapping role as the titular Albert Nobbs in Rodrigo Garcia's new movie which premieres at the Toronto Film Festival September 11. PHOTOS: Toronto Film Festival: 13 Films to Know Close has been nominated five times at the Oscars, but has never won. Historically, stepping this far outside of the box has worked for others (see: Charlize Theron in Monster or Marion Cotillard for La Vie en Rose), so why not Close? The film, set in 19th century Ireland, is about a woman who passes herself off as a man in order to work at an elegant hotel in Dublin. To pull it off, Close changed her voice, posture (Charlie Chaplin was an inspiration), and kept her eyes open wide. Even her fashion choices were affected. Close said her shoes were too big for her, her pants were too long and her suit was too roomy, to emphasize the character's discomfort in her own skin. PHOTOS: Hollywood 10 Highest-Paid Actresses The film has been a pet-project for Close since she first played the character on the stage in New York in 1982. She also worked with a makeup artist to transform her features from feminine to masculine. Close said the 20 year gap between playing the character on stage and the start of filming added a "lived-in" aspect to her visage. Some are saying this transformative performance, for which even her voice changed, is the actress' best shot at the golden statue in years. The actress is so passionate about the project, she even co-wrote the adaptation. She told the Hollywood Reporter it was a very rare and tricky character to play because of her purity. "I loved Nobbs because in her ignorance, she tries to create a life for herself," Close said. PHOTOS: Academy Award Movie Makeovers This isn't the first time Close has cross-dressed on film. She had a brief cameo in Steven Spielberg's Hook back in 1991. She was almost unrecognizable as pirate (she even wore a beard) who gets sentenced to punishment in Captain Hook's "Boo" box. But Close hasn't given the only performance garnering awards buzz at this year's festival. Viggo Mortensen, Keira Knightley and Michael Fassbender are getting good reviews for David Cronenberg's A Dangerous Method. George Clooney is packing a double punch with The Descendents and The Ides of March and his buddy Brad Pitt stars alongside Oscar-winner Phillip Seymour Hoffman in Bennett Miller's Moneyball. The festival, traditionally seen as an informal kick-off to the falls awards season, begins Thursday and runs through September 18. Related Topics Toronto International Film Festival Glenn Close

Madonna's 'Material Girl' Trademark Claim Rejected by Judge

Ian Gavan/Getty Images Madonna might be living in a material world, but her hold on the phrase "Material Girl" is legally dubious. A federal judge in California has rejected the pop star's argument that she has established trademark primacy over "Material Girl" for a line of clothing just because she created a song by the same name in 1985. Madonna and her company, Material Girl Brand, are fighting a lawsuit brought last year by LA Triumph, an L.A.-based clothing retailer that claims to have been selling "Material Girl" clothing since 1997 and has a registered trademark. In response, the singer attempted to get the lawsuit tossed by presenting evidence she created a hit song that brought "Material Girl" to fame more than 25 years ago. In court papers, Madonna said she is the Material Girl, and she was the first user starting in 1985. California Judge S. James Otero isn't impressed. "Defendants' argument that Madonna created the 'Material Girl' mark through her performances fails as a matter of law," the judge writes in an order denying summary judgment. "This Court and other courts have recognized that the singing of a song does not create a trademark." The judge also rejected arguments that $85 million worth of "Material Girl" relatedmerchandise sales in the 1980s is enough to establish being the "senior trademark user" because concert paraphernalia doesn't strictly equate to clothing sales. But Juse Otero will allow the jury to hear evidence about this at a trial, scheduled for October. If the company lives up to its name, LA Triumph might force Madonna to pick a new name for her clothing at outlets like Macy's, a co-defendant in the case. E-mail: eriqgardner@yahoo.com Twitter: @eriqgardner Madonna

Alcon's got talent

Kosove JohnsonAlcon Entertainment, best known for "The Blind Side," is launching Alcon Management Enterprises to invest in talent management.The 14-year-old financing-production company is in the final stages of acquiring a controlling interest in Madhouse Entertainment, a boutique literary talent management company with 50 clients. Madhouse will retain an ownership interest, with Madhouse co-presidents Adam Kolbrenner and Robyn Meisinger continuing to run the day-to-day business.Terms of the deal, announced Tuesday, were not disclosed. The transaction is something of an unprecedented expansion move by a pure production company in Hollywood."We believe the formation of AME marks an important step in Alcon's growth and are thrilled that Madhouse Entertainment will be the first management company acquired by AME," said Alcon toppers Andrew Kosove and Broderick Johnson. "We believe strongly that Robyn and Adam are poised to make Madhouse one of the premiere talent management companies in the industry."Madhouse will become the first component of Alcon Management Enterprises, designed as a holding company for as many as six talent management companies Alcon intends to acquire. In each deal, Alcon will acquire a controlling interest while each existing management team continues to maintain a significant ownership percentage and continues to operate in a largely autonomous manner.Alcon said it has no other acquisition targets at this time.Madhouse clients include Dave Andron, co-exec producer on FX's "Justified"; Liz Garcia & Josh Harto, creators of TNT's "Memphis Beat"; screenwriter David Guggenheim (Universal's "Safe House"); screenwriter Aaron Guzikowski (Alcon's "Prisoners"); Lauren Iungerich, creator/showrunner of MTV's "Awkward"; screenwriter Dave Kajganich ("The Invasion"); Liz Kruger & Craig Shapiro, creators of USA's "Necessary Roughness"; Jeffrey Lieber, co-creator of "Lost"; and Jason Smilovic, creator of NBC's "My Own Worst Enemy" and ABC's "Karen Sisco.""We feel very fortunate to integrate Madhouse with Alcon," saidKolbrenner and Meisinger. "Andrew and Broderick share our philosophies about the business, and we know this union will be very beneficial for our clients and mutually beneficial for our companies in general; it's a perfect fit."Kosove and Johnson told Variety that the idea of forming a talent management division dates back to their original business plan for backer Fred Smith -- with the idea that putting Alcon closer to intellectual property has a strategic value. But they stressed that Alcon's involvement will be indirect and consist of offering insight and expertise to clients under the AME banner, while the companies report to the AME board.Kosove and Johnson also said Alcon has already put into place a set of internal guidelines to ensure that Alcon does not receive preferential treatment on projects created by the clients under the AME umbrella. "The mandate for Madhouse and any other AME companies is to always put the best career interests of their clients first," the duo added.Alcon and Madhouse first worked together two years ago when they launched development on Guzikowski's "Prisoners" script. That deal opened the way to the companies discussing an alliance of business operations.Kosove and Johnson also told Variety that the launch of Alcon Management Enterprises opens the door for Alcon to begin moving into TV production but gave no further details.The deal was negotiated on behalf of Alcon by David Fierson, senior VP of business affairs, and Scott Parish, Alcon COO and CFO, and by Madhouse attorney David Fox of Myman, Abell, Fineman, Fox, Greenspan, Light. Contact Dave McNary at dave.mcnary@variety.com

'Hunger Games': Why Was Steven Soderbergh On Set?

Earlier this month, Steven Soderbergh showed up on the set of The Hunger Games, and a few crewmember tweets later, the Internet was flooded with wild, rampant speculation an unusual departure from the webs characteristic restraint. Now, the director has opened up about what exactly he was doing on the set of the heavily anticipated new film. During an interview to promote the directors new Contagion, Moviefone got down to brass tacks and asked the director what was going on, and how he came to be working on The Hunger Games. The story is really simple, Soderbergh explained. Back in April, [director] Gary [Ross] -- who is a close friend of mine I've exchanged creative favors with non-stop over the last 15 years -- when he got the boards for the shoot in April called me and said, Hey, first week of August, I got these two days of second unit. Is there any way you can come down and help me out? Because I'd rather have you do it than hire somebody who I don't know. After completely dismantling a moths worth of speculation over Ross job security, the potential of the Hunger Games franchise and whether Soderbergh might possibly be helming a sequel, the director went into more detail as to what his job actually entailed. As opposed to one of his normal gigs, Soderbergh was expected to work in a mold already established by Ross and cinematographer Tom Stern. If Ive done my job properly, I hope I did, by design, you wouldnt be able to tell what I did, said the director. Because its supposed to cut seamlessly into what theyre doing. Thats the whole point. Thats why he asked me to come down, because he knew that I would be rigorous about matching what they were doing. What do you think about the director of Oceans Eleven and Traffic working on Hunger Games as a gun-for-hire? Would you have preferred the hit books adapted through his aesthetic? Tell us in the comments below or on Twitter!