Always Sunny's Kaitlin Olson and Rob McElhenney Expecting Baby No. 2

Kaitlin Olson and Rob McElhenney It's Always Sunny in Philadelphia stars Kaitlin Olson and Rob McElhenney are expecting their second son this spring, People reports. The baby boy will join older brother, Axel Lee, who celebrated his first birthday last month. FX orders two more seasons of It's Always Sunny, renews Wilfred and Louie "We're having a boy! We're so happy that Axel gets to have a brother so close in age. And that I get to add another set of balls to my very, very male world," Olson, 36, said in a statement to the magazine. "We found out I was pregnant during my mom's birthday weekend in Ojai. I was instantly so proud of this baby for already knowing how to make someone else's special day all about him." The couple's happy baby news is one of many for the FX comedy. Star Glenn Howerton and his wife welcomed their first child last month, and Charlie Day and Mary Elizabeth Ellis are expecting their first child in December. McElhenny, 34, Howerton and Day are also executive producers and writers on It's Always Sunny, which is in the middle of its seventh season and has already been renewed for Seasons 8 and 9. Olson and McElhenney have been married since 2008.

'Beavis And Butt-Head' Returns Tonight

FROM MTV NEWS: It's been almost 14 years since the slackest slackers from the generation, Beavis and Butt-mind, filled the airwaves utilizing their shenanigans, however, if the duo returns to television with new episodes Thursday (October 27), the MTV they return to is extremely a different one. Creator Mike Judge required to address the modifications for the funnel when identifying how you can accept show in. Without music videos playing as regularly on MTV, there is a more compact quantity of an opportunity for Beavis and Butt-mind to sit down lower around and discuss them simply because they did through the show's original run. Reality shows like "Jersey Shoreline" and "16 and Pregnant" have transformed what were formerly blocks of music videos, and choose mentioned he wanted the completely new "Beavis and Butt-mind" episodes to reflect that change. See the full story at MTV News!

Kristin Chenoweth Thinks Her 'Glee' Days Are Over

On Tuesday's "Dancing With the Stars," Kristin Chenoweth makes her second appearance in so many days to sing a track off her new album, "Some Lessons Learned."The petite 43-year-old actress, singer and Broadway vet met with reporters backstage at the show on Monday, and amidst talk of her recent foray into country music and explaining she won't ever be a "DWTS" contestant, she seemed to put the kibosh on a possible return to "Glee.""I don't think so," said Chenoweth. "I would love it, but I don't think Ryan Murphy has any plans for April Rhodes."She appeared in a total of three episodes of the Fox series as the endearing alcoholic who grew up with Matthew Morrison's Will Schuester. And while she may never reprise the role, it clearly has a special place in her heart."I sure loved her," she added. "She's a hot mess."Chenoweth will probably be too busy for guest spots, anyways. She stars in ABC's midseason drama "GCB" (formerly "Good Christian Belles"). And being a part of the ABC family does not mean she's planning on appearing "DWTS" as a contestant."I don't know that that's fair," she said, adding her Broadway advantage, showcased Monday in a performance of "Maybe This Time" from "Cabaret," might preclude her from qualifying. "It's a totally different animal and beast than what we do on Broadway. What we do on Broadway is not easy, but our job is to make it look easy."As for this season, she admits her allegiances are with friends Ricki Lake and David Arquette, but she's also quite fond of J.R. Martinez and Nancy Grace -- the latter of whom is a bit of a kindred spirit."I'm always going to go for the petite blonde," she said. The Hollywood Reporter

Joss Whedon tackles Much Ado About Nothing

Joss Whedon has adapted and directed a modern version of Shakespeare's classic comedy Much Ado About Nothing. And we thought he was hard at work on The Avengers. The production is the first feature from Bellwether, a micro-studio created by Whedon and Kai Cole for the creation of "small, independent narratives for all media."Filmed in just 12 days entirely on location in Santa Monica, the project wasshot in black and white by Jay Hunter (Paper Heart, Dollhouse) butapparently "embraced a DIY ethos and newer technologies". Much Ado About Nothingstars Amy Acker (Cabin In The Woods, Angel) and Alexis Denisof (How I Met Your Mother, Angel) as Beatrice and Benedick, the world's least likely lovers headed for their inevitable tumble into love.The cast also includes Nathan Fillion, Clark Gregg, Reed Diamond, Fran Kranz, Sean Maher, Spencer Treat Clark, Riki Lindhome, Ashley Johnson, Emma Bates, Tom Lenk, Nick Kocher, Brian McElhaney, Joshua Zar, Paul M. Meston, Romy Rosemont and Jillian Morgese.Those players arealldescribed as being "dedicated to the idea that this story bears retelling, that this dialogue is as fresh and intoxicating as any being written and that the joy of working on a passion project surrounded by dear friends, admired colleagues and an atmosphere of unabashed rapture far outweighs their hilariously miniature pay cheques.""The text is to me a deconstruction of the idea of love, which is ironic, since the entire production is a love letter - to the text, to the cast, even to the house it's shot in," Whedon said.

Mariah Carey: I Only "Sometimes" Trust Nick Cannon

Mariah Carey and Nick Cannon When Mariah Carey married Nick Cannon, who's ten years her junior, she was reluctant. "Initially, I had been scared of the idea of marriage, but this can be a different situation and I am a different person," she told Barbara Walters on Friday's 20/20. VIDEO: Mariah's many moments montage Carey, 41, was formerly married to music mogul Tommy Mottola, who, Walters noted, had some treatments for her. "Nobody will have the ability to steal my spirit again," Carey stated. Due to this, Carey stated she only "sometimes" trusts Cannon, whom she get married in 2008. Cannon was quick to make sure her of his devotion. He noted any time anybody requested him who his celebrity crush was, "I'd always say Mariah Carey," he stated. Carey grew to become pregnant soon after they married, though she formerly experienced a miscarriage. "It had been really tough," she stated. At 40, being pregnant was dangerous, especially considering the fact that she was transporting two babies. She was limited to mattress relaxation and was come to a healthcare facility several occasions. "I had been afraid I wasn't likely to have the ability to walk correctly again," she stated. Mariah Carey and Nick Cannon announce what they are called of the twins Around the couple's third anniversary, Carey gave birth - all while Cannon was playing DJ within the delivery room. Their twins arrived to the planet to some live version of Carey's "Fantasy." Their daughter, Monroe, is known as after Lana Turner, while their boy, Moroccan, is known as following the room where he suggested to Carey. "Roc & Roe," the pair passionately stated together. "It is simply love, it is a beautiful spot to be," Carey stated of getting a household.

A Couple of Best Males

A Screen Australia, Arclight Films, Quickfire Films and Screen NSW presentation of the Parabolic Pictures and Stable Way Entertainment production in colaboration with Unthank Films, Story Bridge Films, Ingenious Broadcasting and Auburn Entertainment. (Worldwide sales: Arclight, Beverly Hillsides/Sydney.) Created by Shane Stallings, Laurence Malkin, Gary Hamilton, Antonia Barnard. Executive producers, Dean Craig, Josh Kesselman, Todd Fellman, Mark Lindsay, Ian Gibbins, James Atherton, James M. Vernon. Directed by Stephan Elliott. Script, Dean Craig.With: Xavier Samuel, Kris Marshall, Kevin Bishop, Tim Draxl, Olivia Newton-John, Laura Brent, Digital rebel Wilson, Jonathan Biggins, Steve Le Marquand, Elizabeth Debicki, Olivier Torr.Helmer Stephan Elliott strongly goes where very little one wanted him to visit again -- toward "Thanks for visiting Woop-Woop's" no-brow scatology -- while "Dying in a Funeral" scribe Dean Craig recycles that hit's ideas in "A Couple of Best Males," the type of bottom-feeding yuckfest in which a character's slip in dog poo inside the first minutes sets the tenor for the following 90 approximately. Of course, that causes it to be no dumberer than many recent mainstream comedies. But without their star energy, this tale of immature Englishmen mucking up a higher-well developed Aussie wedding looks destined mainly for home formats beyond Oz and also the U.K. Getting met throughout an idyllic tropical-island holiday, university students David (Xavier Samuel) and Mia (Laura Brent) are mind over heels and headed toward the altar. Orphaned while very young, your daughter's groom must first announce this surprise news to his best mates: Obnoxious, arrogant Tom (Chris Marshall), bumbling Graham (Kevin Bishop), and self-pitying Luke (Tim Draxl), lately left by his g.f. Despite their less-than-magnanimous reaction to the wedding, with Tom particularly irked by David's "unfaithfulness," all accept fly from London to Sydney for that large day. Improbably, that event may also be the very first time David meets the in-laws and regulations, a wealthy clan having a rambling Nsw estate. Mia, her pretend-lesbian (simply to upset Father) sis Daphne (Digital rebel Wilson), as well as their proper mother, Barbara (Olivia Newton-John), have lengthy resigned themselves to residing in the controlling shadow of patriarch and political kingmaker Jim Ramme (Jonathan Biggins). But Father is positioning the naive Mia as his public-office successor thus, the marriage is virtually a condition affair, made to woo his allies into accepting a dynastic future. A combination of chance, ineptitude and outright maliciousness soon starts lounging siege towards the dignity from the event, including bachelor-party antics that leave Jim's mascot, "Ramsy," a wonderfully horned male sheep, in a number of highly jeopardized positions, and then leave a paranoid drug dealer (Steve Le Marquand) gunning for top males he assumes have conned him. You will find good quality sight gags including sheep, in addition to a massive runaway floral arrangement. But mostly "A Couple of Best Males" is simply oafish, finding its metier in scatological jokes and verbal diarrhea. Pic makes "Dying in a Funeral" seem like Noel Coward, lazily changing that film's titular event for any spousal affair, changing its hallucinogen interlude having a longer, rougher booze-and-coke one. Perhaps worse is the fact that after a lot crass and mean-spirited nonsense, the pic pulls a maudlin about-face in direction of unearned sentiment. It is really depressing to determine the director of "The Adventures of Priscilla, Full from the Desert" leaning so heavily on gay-stress humor. Contributing to the overall air of witless self-satisfaction is really a soundtrack cluttered with limply remade bubblegum hits by prefab functions such as the Monkees, Archies, Partridge Family, etc. Making fun of these musical flotsam is much like shooting seafood inside a barrel -- exactly the amount of comic sportsmanship "Males" reflects throughout. The very best it's possible to say concerning the thesps is when their material were better, they'd have actually risen towards the occasion. Packaging is clever, beyond a couple of apparent background f/x going to tart in the landscape's natural scenic beauty with heavy CGI facepaint. Attention-deficit editing frequently shortchanges the payback for that couple of midway decent jokes here.Camera (color, widescreen), Stephen Windon editor, Sue Blaney music, Guy Gross music, Warren Fahey, Michelle P Vries production designer, George Liddle art director, Hugh Bateup set decorator, Rebecca Cohen costume designer, Lizzy Gardiner seem (Dolby Digital/DTS), David Lee supervisory seem editor, Andrew Plain re-recording mixer, Gethin Creagh assistant director, N Antoniou casting, Christine King, Gart Davy, Anne McCarthy. Examined at Mill Valley Film Festival (World Cinema), March. 14, 2011. Running time: 91 MIN. Contact the range newsroom at news@variety.com

Start Searching: Shameless Will get Warmer

Shameless "Summer season in Chicago takes things within an positive direction for your Gallaghers," Shameless star Emmy Rossum (Fiona) states. She becomes a waitress, her sister starts a child care center within their home, then one brother is "controlling a marijuana business from an ice-cream truck." For patriarch Frank (William H. Macy), he's still unemployed. Agoraphobe Sheila helps it be 300 foot abroad, adds Rossum. "Everything she takes is really a step closer to her realizing precisely what a tragedy Frank is." Subscribe to TV Guide Magazine now!

Damon, Krasinski joining on WB drama

DamonKrasinskiMatt Damon intends to make his feature directoring debut within an untitled, mid-budget drama he and John Krasinski co-authored and can star in together for Warner Bros. Project is going to be setup at Krasinski's Sunday Evening Productions banner. Chris Moore will produce. Pic isn't the lengthy-rumored "Father Daughter Time," which many thought about in June, when Damon stated he was thinking about a pointing project with Krasinski within the cast. Rather, project is one thing Krasinski emerged with and developed with author Dork Eggers (who co-authored Krasinski-starrer "Away We Go"). Damon would play a salesperson who arrives in a tiny town simply to have his whole existence known as into question. Krasinski's role wasn't revealed. Warner Bros. has yet to greenlight the project, with no individual deals have been in place, though preliminary plans will be to shoot the project around the New England soon. Jesse Ehrman is managing for Warner Bros. Sources tell Variety that pic could be allocated around $12 million which the duo will attempt to obtain a script finished over the following month. Both Damon and Krasinski have dabbled with off-screen work: Damon's career required off after he composed and starred in Miramax pic "Good Will Hunting," which won him an Oscar for original script. Krasinski only lately began his writing career, getting composed and directed the IFC pic "Brief Interviews with Hideous Males." Damon is presently filming The new sony/MRC co-production "Elysium." Krasinski can nonetheless be seen around the NBC skein "Work.Inch Both thesps are repped by WME. Contact Shaun Sneider at shaun.sneider@variety.com

Iron Guy 3 starts next round of sequels leading to Avengers 2

Following a first official Avengers trailer taunted us the other day, Marvel stopped off within the NY Comic-Disadvantage where studio mind Kevin Feige spoke about what's next for your Marvel franchise. Feige mentioned that Iron Guy 3 would be the first film "Inside the second phase in the Avengers initiative," which basically means the next wave of Marvel sequels that will start to the build to Avengers 2.Feige also confirmed to fans that Marvel was already concentrating on Iron Guy 3 with director Shane Black.Feige mentioned that Iron Guy 3 will probably be "the initial from the products we type of reference as phase a few this saga that will culminate, God willing, in Avengers 2." So, it might seem like Marvel will probably be leaving Iron Guy 3, Captain America 2 and Thor 2 before we have our The Avengers follow-up.Sadly it doesn't appear like Avengers 2 will probably be punching the silver screen until 2014 within the earliest, as Iron Guy 3 is scheduled for just about any May 2013 release, Thor 2 for November 2013 and Captain America 2 doesn't really possess a release date by yet!Regardless of all the release date nonsense, will still be exciting for Marvel fans to hear in what the way ahead for the franchise must offer. Speaking about which, fans will probably be delighted to know that Fiege has confirmed an Iron Guy 3 teaser trailer within the finish in the Avengers, so be sure that you remain sitting or else you will become more upset than Tony Stark finally orders.

Broadway box office bumps up

The conventional Broadway sales boost which will come throughout Columbus Day weekend seems to own overcome whatever B.O. hindrance Yom Kippur may have provided the other day, with receipts growing at virtually every show round the boards. Travelers around for your extended weekend aided keep amounts elevated, especially at "The Lion King" ($1,660,023), which leaped by nearly $250,000 to land just before "Wicked" ($1,656,867) within the tippy-the top of Top. "Spider-Guy: Turn Off the Dark" ($1,464,858), "How you can achieve Business Without Really Trying" ($986,336) and "Mary Poppins" ($813,941) also were among the shows to climb by greater than $100,000 each, striking play "War Equine" ($998,448) came within spitting distance of damaging the $millions of mark. Otherwise over the Rialto, there has been a couple of relatively minor dips -- then one really large one. "Follies" ($886,027) slid by close to $250,000, marking a 22% decline versus. the final sesh. Reps for your show noted your window for reduced tickets from email and direct mail offers expired the other day, and producers expect grosses to create again inside the future. Among the other declines, both "The Mountaintop" ($530,317) and "Guy and Boy" ($194,119) were accommodating comps throughout press previews, with "Guy and Boy" also hosting a heavily-comped opening evening in the last weekend. Meanwhile, "Priscilla Full in the Desert" ($753,600) and previewing play "Relatively Speaking" ($648,394) were both lower, but only slightly. Broadway cume was up about $850,000 to $19.6 000 0000 for 22 shows round the boards. This can be a rise inside the prior sesh of nearly 4.5%, in contrast, attendance wound up having a percentage indicate 205,123. The conflicting signals might be because of the holiday weekend, when out-of-towners with small amount of time can be ready to spend out more gold gold coin for ducats for the shows they wish to see. Attendance across all Broadway hit 86% of total capacity, almost exactly on componen with a year ago at this time around around. Contact Gordon Cox at gordon.cox@variety.com

Joel Edgerton on Big Moments, The Thing Prequel, and Avoiding 'The Hollywood Trap'

Australian actor Joel Edgerton has been in the business for a good 15 years, during which time he’s transitioned from Aussie TV to supporting turns in international films (Kinky Boots, King Arthur, and Star Wars: Episode II — Revenge of the Sith) and wrote and co-starred in the solid Australian thriller The Square with brother Nash (who directed). But in 2011 — on the heels of his work in the underperforming but critically-loved Warrior, on the eve of his lead turn in Universal’s prequel The Thing — he seems poised, finally, for his moment in the spotlight. The thought inspires mixed feelings for Edgerton. On the one hand, a higher profile means he’s been able to land bigger roles, like Tom Buchanan in Baz Luhrmann’s upcoming adaptation of The Great Gatsby. On the other hand, he admits on the subject of fame vs. artistry, “You’ve got to be really careful that you’re not falling into the Hollywood trap.” Edgerton rang Movieline to discuss his career at large and his work in Matthijs van Heijningen Jr.’s The Thing, in which he plays tough-but-sensitive American pilot Braxton Carter, one of a group of scientific research camp members blindsided by a shape-shifting alien creature in isolated Antarctica three days prior to the events of John Carpenter’s 1982 sci-fi classic. You filmed Warrior in 2009 and The Thing in 2010, but both are hitting theaters around the same time so this feels like the perfect time to talk with you. Does it feel like you’ve been waiting for this moment, this year? I don’t know! I feel like I’ve been waiting for a moment all my life. And it’s funny; when the moment comes, it doesn’t really feel like a moment. I’ve been banging the drum for so long, I figure at some point it would all culminate into something, except that ironically it sort of feels like the opposite, in a way. I just keep doing my thing and try not to get swept up in it, because I think the moment I get swept up in it all, it can easily evaporate and come crashing down. You know, to me I think I’m just going to keep focused and forward on what I’m doing, work-wise, rather than searching for any kind of meaning in it. It’s always risky to remake a beloved film property. How were you first convinced that re-imagining John Carpenter’s The Thing was a good idea, and a worthy project for you to join? If you’re a fan of the Carpenter version — I’ve got quite a few buddies who, like me, are a fan of the ‘82 Carpenter version, and when I first found out about this idea and discussed it with them they were like, it’s such a cool idea — I can’t believe no one’s thought about that before! It does answer questions that fans of the original may have, cleverly fitting itself into the Carpenter version in ways. Yeah, it’s sort of like taking the seam and creating a new section of the garment, in a way. It’s this great mystery that’s sort of left unsolved and in the Carpenter version it kind of just sets up the power and craziness of that alien. And yet as these guys prove, it can open up to create a whole story of its own. I’m very glad they did. Given the fact that so many people are familiar with the original film, what did you find was the challenge in introducing a new character to the framework in which viewers are already primed not to trust anyone? It’s sort of interesting, because back in the day there was the whole kind of human paranoia, human vs. human, alien vs. human paranoia. It sort of seemed to have a real social relevance in the ’80s and I think that same social relevance is here today, which is this question of, ‘Who is who?’ Who are the villains in society? I guess it would have been Communism that was the parallel back in the ’80s, but now there’s terrorism and the question of who’s out to get who. I think that’s an interesting reason why this could be relatable, but I don’t think it’s worth bringing too much into the foreground because on one hand, it’s a piece of entertainment. It’s not supposed to be too heavy a social allegory. But I think there is a bit of relevance to it. Have you seen the finished film already? Yeah, yeah — I saw it a couple of months ago, but I think it would have been a near-finished version of it, without the completely finished sound and music. Visually the film is at times so expansive, and at times quite claustrophobic. Some of the sets were quite large and extensive. Was there an immersive quality to it? There was such a real care of attention to detail to get the sets to feel and match the whole Carpenter feeling, and in fact the film was pointed in that direction, to give a sense of style and aesthetic and design that kept in with the Carpenter film. Beyond that, I feel like at the same time the filmmakers were not going to deny the sort of scale we expect out of movies these days and the sort of excitement we expect from them. Also, the more modern technology. So it seemed like the whole time there was one eye on the ’80s and one eye on the current period, and trying to make both of those things work in the film’s favor. This is the most recent in a string of roles for you in which you play an American. Coming from Australia have you found this to be an interesting development in your career as you break into Hollywood — the cultivation of a variety of American accents and characters? Yeah, it is! I always sort of run home and do movies in Australia and I’ve found a number of productions over here. A number of earlier things that I did that came out of L.A. were films that I shot in the U.K., like Kinky Boots and King Arthur. So I felt like I was getting work out of here then running off to another country to shoot. But it’s great participating in these big American movies and I guess what comes with that is then taking on the responsibility of playing American characters. It’s funny, I get more and more comfortable with it but at the same time there’s a real responsibility to make sure you get it right. Same with Warrior, sort of trying to find a relatability to the working class — Pittsburgh, working class, a fighter. All of those elements. The accent is just one element. But there’s a real responsibility as an actor to make sure you get those things right. I find it a responsibility to myself, out of fear of being crucified. [Laughs] I don’t want to end up on one of those ‘Worst accents in film’ lists. Looking back on the transitions you’ve gone through in your career, do you feel you’ve had to become more careful in your choices of roles and projects in the last few years as your star has been on the rise? Yeah. I mean, I don’t know how it is for other actors but I assume it could be a similar course. When you first start out, or when I first started out, it was just work — do whatever you can. Get noticed, get people hiring you. The only way for you to show what you can do is to actually do. You can’t really be picky when no one is offering you anything. And then, if you’re lucky, things start to roll along. But even still, there were never millions of choices. It was all about finding the projects that I liked and tackling them to the ground. Convince directors that I was the right person for the job. When you don’t have a high profile, quite often you just can’t get the jobs that you want. So it’s a kind of lovely, fortunate position where I can work all the time and I have options of working on various things. And strangely enough, just when I thought it was going to get easier it’s still on some level a little tougher, because you’re always looking for that right project and you want the challenge. Sometimes it’s tougher because where it all really boils down is taking bigger paychecks to do less interesting work. And if you really see yourself as an artist or as an actor you like a challenge anyway. You’ve got to be really careful that you’re not falling into the Hollywood trap, you know? For me, it’s just like I have to remind myself of what keeps me going and what kind of challenges. It’s really about the process and not the result. One of the most unforgiving and upsetting and traumatic experiences is releasing a movie. Moreso than filming it, then? Yeah! I find it traumatic! I just want to make the things and it’d be great if I didn’t have to — I mean, I’m proud of the movies I make and I’m proud of the movies I do, but there’s something about talking about the process that can feel like it reduces the actual experience of the thing. When you’re in the trenches doing the work, that’s exciting. I guess when the movie gets released I’m just reminded of the sad aspect of the fact that it’s all just a business as well. What I really love, and this is probably also on the publicity side or the press side, is that so many of the journalists or the press who talk about movies are actually fans of movies. The fact that there are so many websites that are dedicated to movies, it seems to me the right people are talking about the movies because they’re the people who are interested in seeing good movies and are waiting for movies to come out and want the best from movies. That’s why, hopefully, we’re all in the business. On a semi-related note, you and your brother Nash broke out of the Australian film scene together with projects like The Square, and you wrote, directed, and starred in a short film called Monkeys. So on the one hand audiences see you in these increasingly high profile Hollywood films, but do you intend on keeping a foot in the independent world? Blue-Tongue Films is a big important thing for us, and it’s also a part of the reason why I’m doing what I’m doing on this bigger scale. I’ve kept my interests all the way along via the things that we write and the stories that we generate, and that’s so important to me. It’s important to me that we make Australian films and Australian product. Blue-Tongue will continue to make stuff there and start to open up things here in America. But being a writer has taught me a lot about being an actor, and being an actor has taught me a lot about being a writer. Reading a lot of screenplays in America has taught me more about being a writer. So I feel like the whole creative process, one thing feeds another. And it keeps me in love with what I do, which makes me just an all-around happier person. It feeds that back into the work. So it allows me to not get too easily cynical and gives me an outlet that I feel really happy about. It gives us something to be proud of. And it teaches me more about the whole process of moviemaking, which as an actor you’re sometimes a little guarded and shielded from the reality of.

Tom Cruise could lead Doug Liman's sci-fi We Mortals Are

It would appear that Tom Cruise isn't resting on his laurels when it comes to staging his comeback, as he's toying with another interesting project: Doug Liman's We Mortals Are.The film, based on a Japanese novel, was formerly known by the (slightly better) title, All You Need Is Kill. Several star names have been linked to the adaptation since it was first mooted, although no one has come close to signing.According to The Hollywood Reporter, Warner Bros are in talks with Cruise to star in the big-budget war epic, which sees a soldier who dies in battle forced to relive the day of his death Groundhog Day-style, until he can change the outcome.It's no done deal, as Cruise has two projects currently lined up - Jack Reacher movie One Shot and sci-fi biggie Oblivion. He's recently finished work on musical Rock Of Ages, and he returns with the Mission: Impossible franchise this winter.Cruise's past forays into sci-fi (Minority Report, War Of The Worlds and, to a lesser extent, Vanilla Sky) have been impressive, and you can't knock the guy for his effort recently.It remains to be seen if his popularity will return to the giddy heights of yesteryear, but he certainly seems to be going the right way to re-establishing his star status.

'The Princess Bride' Cast Reunites on Good Morning America

Buttercup, Westley and Miracle Max all in the same room?! Yes, the cast of 'The Princess Bride' reunited on the set of Good Morning America on Friday to reminisce about the fairytale flick and its place in film history. (Also, is 'The Princess Bride' really more than twenty years old? Yikes.) So, if you've ever wanted to see Billy Crystal wear his Miracle Max hat or know what it was like kissing Cary Elwes, then check out the video ahead. video platformvideo managementvideo solutionsvideo player [via Vulture] Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

Suit versus. Cinemark reinstated

The best appeal by Palm Desert, Calif.'s Cinemas Palme d'Or arthouse theater gets the possible ways to open bookings by independent theaters once the desert plex rules. Cinemas Palme d'Or can be a 10-plex possessed by radio host Steve Mason, actor Bryan Cranston, producer Alise Benjamin-Mauritzson and theater operator John Tabor. The cinemas punished Century Theaters (later bought by Cinemark) in 2006, saying the large circuit was denying bookings for the arthouse -- a workout known to as circuit dealing -- through Century's risks to obtain back against distribs by denying them critical runs in other areas. Even though initial suit was overlooked in condition superior court in 2008, the California Condition Court of Appeals recently ruled to reinstate the suit, knocking within the low court's decision. The other day, legal court declined a motion by Cinemark for just about any rehearing, opening the entrance to resume the invention process and so the trial can proceed in La Superior Court. "For me this case comes with an chance to actually impact our industry and help preserve independent theaters everywhere,In . co-owner Steve Mason mentioned in the statement. Although Cinemas Palme d'Or mentioned bookings increased being somewhat simpler following a suit was filed, the partners mentioned it remains an problem. The multiplex is presently showing studio releases for instance "Contagion" and "The Help.In . Mason mentioned the cinemas are actually capable of book only tiny releases, with Cinemark booking most commercial releases into the nearby River multiplex. Cinemark, meanwhile, has mentioned its business practices are approved that the appellate court ruling is unlike modern antitrust law. Distribution professionals may be referred to as to testify through the following round in the courtroom. Other independent theater entrepreneurs, who likewise feel in an issue with the primary theater chains, are carrying out a situation, a great ruling through which might help level the playing area for additional compact exhibs. Contact Pat Saperstein at pat.saperstein@variety.com

Milchan doubles down on film ambitions

With the recession deepening, many financial players are hedging their bets or heading for the sidelines. But now along comes Arnon Milchan. A career contrarian, Milchan has marshaled a $500 million-$700 million war chest, fired the staff of his film company and announced to Hollywood that he wants in on the action once again. In short, he intends to spend big bucks on movies. The last time the mercurial Milchan was this excited about the movie business was back in 1990 when "Pretty Woman" became a surprise hit and he decided that, with the right game plan, filmmaking could indeed translate into big profits. Setting up Regency Films, Milchan unfurled a then-innovative scenario for co-financing and co-owning films that were then distributed through a low-fee, rent-a-studio distribution structure. Some lively and eclectic films emanated from Regency in its early years, ranging from "JFK" to "Heat" to "Brazil" to "The King of Comedy" and "L.A. Confidential." In recent times, however, Regency's product has become notably blah -- its principal contribution to our pop culture was the "Alvin and the Chipmunks" series. (Regency's current release, "What's Your Number?," is a reasonably entertaining romantic comedy that I feel I've seen before.) Talk with Milchan, a feisty sixth-generation Israeli, and you sense his impatience not only with his movies but also with ever-mounting tensions in the Middle East. Where Milchan once helped Israel procure and develop weapons, his role in recent years has become more of a peacemaker and bridge-builder. But this, too, has led to frustration. His quirky films once gave him amazing access to that region's power players (Yasser Arafat told him "Pretty Woman" was his favorite video) but lately the walls have gone up again, prompting Milchan to turn back to Hollywood for some fun. To be sure, Milchan's definition of "fun" can become rather intense. He relishes the combat of dealmaking, which has led to ongoing relationships with filmmakers like the tantrum-throwing Oliver Stone, who once called Milchan a Middle Eastern rug dealer (wrong product). Milchan presently is taking on the famously cogitative Warren Beatty, who has been pondering his Howard Hughes project for two decades. The film is appropriately titled "The Rules Don't Apply" and, if deal differences work themselves out, Beatty would direct himself on a budget of $32 million, which would emanate not only from Regency but also possibly from Jim Robinson's Morgan Creek. Once a deal with Andrew Garfield to co-star failed to materialize, offers went to several other actors (cameos from the likes of Annette Bening and even Jack Nicholson might also become reality). Deal issues relating to potential budget overages must also be firmed up. Meanwhile Milchan, eager to put together an eclectic slate, is nurturing other projects. He likes Darren Aronofsky's broad-scale film, "Noah," which may be distributed by Paramount, not Fox -- Milchan's home base -- and he covets a Brad Pitt vehicle titled "The Gray Man" (which will be directed by James Gray). Milchan has brought in Brad Weston to run Regency (he was a highly caffeinated executive at Paramount) and Weston, in turn, hired Alexandra Milchan, daughter of Arnon (and herself a successful producer) to further prod the slate. "I realize that my company has become a bit boring, and maybe I've become bored, too," Milchan confides, but his definition of boredom strikes friends as idiosyncratic. At age 66, the tan and fit Milchan has two young children (ages 9 months and 4 years), is married to a former world-class tennis player (Amanda Coetzer) and continues to wheel and deal with his art collection, which is reportedly worth well north of $600 million. Milchan is less than thrilled by a new unauthorized biography of him that is gaudily titled "Confidential: The Life of Secret Agent Turned Hollywood Tycoon Arnon Milchan." Written by Meir Doron and Joseph Gelman, the book describes Milchan as leading a James Bond-like career in procuring exotic weapons for Israel's war machine. Milchan prefers to downplay this portion of his life. He points out that he inherited a company that manufactured chemical fertilizer and, as a player in the chemicals business for a nation that was often at war, he had his share of military contracts. A centrist by nature, Milchan has tried to encourage peaceful solutions for the Middle Eastern morass, and is both encouraged and worried by the so-called Arab Spring, Given those concerns, he has decided at the moment to focus his attentions on creating a Hollywood Spring. Some good and intelligent films, he believes, could go far to rebuild the industry's sagging economics. And to Milchan, as to Warren Beatty, the rules don't apply. Contact Peter Bart at peter.bart@variety.com

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