What's the Best Scene in a Bad Movie from 2011?

2011 will not go down in history as one of cinema's best years, which is a good thing for bad movie lovers. From 'Sucker Punch' to 'New Year's Eve,' Hollywood's worst was on display quite often this year, but that doesn't mean bits of good didn't sprout up from the wreckage -- like a daisy in a garbage dump. So! Which terrible 2011 movie contained the best scene? Would you believe 'The Green Hornet'? Released in January after years in development hell, the Seth Rogen-led action comedy was underwhelming at best (despite nearly $100 million in ticket sales) and blatantly mediocre at worst. Still, 'The Green Hornet' did feature one truly memorable scene: Rogen and Jay Chou rocking out to Coolio's 'Gangsta's Paradise.' Watch below and get the song stuck in your head for infinity. Fun! Exciting! Watchable! If only 'The Green Hornet' had that energy throughout its running time, it could have been something moderately special. What's your favorite scene from a bad movie in 2011? Something from 'The Hangover Part II' or 'Transformers: Dark of the Moon' or 'Breaking Dawn Part 1'? Let us know in the comments below! [Photo: Sony] Follow Moviefone on Twitter Like Moviefone on Facebook

Mister Ben Kingsley how 'Hugo' Ranks Along With Other Martin Scorsese Films and the 'Sopranos' Cameo

Apart from becoming an enormously popular franchise, the 'Law and Order' empire is another breeding ground for 100s of unknown, up-and-coming stars searching for their large break. Although she might be famous now, 'The Girl Using the Dragon Tattoo' star Rooney Mara counts herself among that group in 2006, she'd a little role with an episode of 'Law and Order: SVU.' So, does she cherish the expertise of standing on a across the country public program? Not quite. "It had been so awful. So stupid. Individuals are enthusiastic about that demonstrate. I do not have it,Inch Mara accepted to Allure magazine. As she describes it, the episode featured an extremely absurd plot line. "Me and my boyfriend -- although I do not look of sufficient age to possess a boyfriend-- went and pummelled these body fat people, and also at the finish from the demonstrate discover that I was obese and that i hate body fat people. It's absurd. Who'd ever do this? Who'd beat someone up because they are body fat? So that as retribution, they sodomized her. I am talking about, I have been sodomized forever of my career. I ought to have known it will come full circle," stated Mara. Obviously, Rooney is onto bigger and things now. She only agreed to be received a Golden Globe nomination on her role in 'Dragon Tattoo,' which opens countrywide on December 20. Take that, Dick Wolf! Best Performances of 2011 11. Uggie, 'The Artistཆ. Corey Stoll, 'Midnight in ParisƏ. Ryan Gosling, 'DriveƎ. Kristen Wiig, 'Bridesmaidsƍ. Michelle Williams, 'My Week With Marilynƌ. Meryl Streep, 'The Iron LadyƋ. Michael Fassbender, 'ShameƊ. Albert Brooks, 'DriveƉ. Charlize Theron, 'Young Adultƈ. Kaira Pitt, 'MoneyballƇ. Rooney Mara, 'The Girl Using the Dragon Tattoo' See All Moviefone Art galleries » [via Allure and television Guide] Follow Moviefone on Twitter Like Moviefone on Facebook

Music Executive Wiped out in Hollywood Shooting Appreciated: 'Warm, Large-Hearted' (Exclusive Photos)

The 18th Slamdance Film Festival, which runs from Jan. 20-26 in Park City, Utah, will showcase 18 feature length films -- 10 narrative films and 8 documentaries -- from first-time company directors in the feature competition programs. 13 from the movies, culled from nearly 5,000 distribution, are world premieres. In announcing the choices Wedneday, Peter Baxter, Slamdance leader and co-founder, stated, "Our competition showcase reflects new methods to filmmaking that mirror the cruel occasions by which we presently live. These films showcase filmmakers who've a significant capability to innovate, experiment, and bring us strongly into the way forward for independent filmmaking. The Slamdance line-up includes: NARRATIVE FEATURE COMPETITION PROGRAM: Bindlestiffs Director: Andrew Edison, Screenwriters: Andrew Edison, Luke Loftin. (USA) Three wise-mouthed senior high school virgins, suspended from soccer practice on the graffiti charge, flee towards the inner city to reside the plot from the Catcher within the Rye. Cast: Andrew Edison, Luke Loftin, John Karna Comforting Skin Director: Derek Franson, Film writer: Derek Franson. (Canada) US Premiere A lonely youthful lady's desperate requirement for physical and emotional companionship draws her right into a surreal and ultimately destructive relationship having a shifting and whispering tattoo she's willed to existence on her behalf skin. Cast: Jane Sowerby, Tygh Runyan, Victoria Bidewell Doppelgänger Paul (or perhaps a Film About How Exactly Much I Personally Don't Like Myself) Director: Dylan Akio Cruz, Kris Elgstrand, Film writer: Kris Elgstrand. (Canada) US Premiere The unlikely relationship of two lonely males whose connection sparks a series of occasions inducing the lack of a thumb, the thievery of the manuscript, and 2 looks on the popular morning talk show. Cast: Kaira Dryborough, Tygh Runyan Belief, Love and Whiskey Director: Kristina Nikolova, Screenwriters: Kristina Nikolova, Paul Dalio. (Bulgaria) World Premiere A youthful Bulgarian lady, engaged to some well-off American, panics and runs home, getting back together with her drifter buddies and also the wild existence of her past and falling deeply in love with her passionate but alcoholic closest friend. Cast: Ana Stojanovska, Valeri Yordanov, John Keabler, Lidia Indjova, Yavor Baharov Heavy Women Director: Axel Ranisch, Screenwriters: Axel Ranisch, Heiko Pinkowski, Peter Trabner. (Germany) US Premiere Sven lives together with his seniors mother Daniel is her health professional. When she wanders off, their misadventure to locate her leads these to uncover their confusing affection for one another. Cast: Heiko Pinkowski, Peter Trabner, Ruth Bickelhaupt OK, Good Director: Daniel Martinico, Screenwriters: Hugo Remedy, Daniel Martinico. (USA) World Premiere A number of demoralizing auditions along with a cultish movement workshop push a battling actor within the edge. Cast: Hugo Remedy Curler Town Director: Andrew Rose bush, Screenwriters: Andrew Rose bush, Mark Little, Scott Vrooman (Canada) US Premiere In the peak of disco-mania, three buddies try to stop a nearby crime syndicate from turning their beloved curler rink right into a video arcade. Cast: Kayla Lorette, Mark Little, Scott Vrooman The Seem of Small Things Director/Film writer: Peter McLarnan. (USA) World Premiere Mike and Cara's make an effort to navigate their youthful marriage is complicated by miscommunication, suspicion and her deafness. Cast: Cara Krippner, Mike Hoolihan Sundowning Director/Film writer: Frank Rinaldi. (Singapore/USA) World Premiere A tale concerning the relationship from a youthful lady that has lost her memory and her mysterious health professional. Cast: Shannon Fitzpatrick, Susan Chau Thanks for visiting Pine Hill Director/Film writer: Keith Burns. (USA) World Premiere A cool drug dealer, now a claims insurer during the day and bouncer by evening, receives earthshattering news that obliges him revisit his past and seek transcendence past the Brooklyn concrete. Cast: Shannon Harper, Mary Meyers, David Williams DOCUMENTARY FEATURE COMPETITION PROGRAM: Zoysia Women Director: Todd Kellstein. (Thailand/USA) World Premiere Two eight years old women fight in rural Thailand's subterranean child boxing economy to generate money to aid their own families. Danland Director: Alexandra Berger, Screenwriters: Ann Husaini, Alexandra Berger. (USA) World Premiere Amateur porn producer Serta Leal, also known as 'Porno Serta,' looks for closeness despite his industry and regardless of themself. The Very First Season Director: Rudd Simmons. (USA) World Premiere To attain their version from the American dream, the Van Amburg family struggle because they combat relentless toil, financial ruin and also the harsh reality of dairy farming. Getting Out Of Bed Director: Caskey Ebeling, Film writer: Tempt. (USA) World Premiere After being identified with Lou Gehrig's disease and made almost completely paralyzed, Tony "Tempt" Quan, popular L.A. graffiti artist, regains his voice through technology that reads the movement of his eyes and allows him to produce art and write once more. I Would Like My Title Back Director: Roger Paradiso. (USA) Utah Premiere Three decades following the historic recording from the legendary mega-hit "Rapper's Delight," Master Gee & Question Mike return to reclaim their details and rightful devote Stylish Hop history. Kelly Director: James Stenson. (USA) World Premiere Getting fled a provincial past, a youthful, transgender prostitute looks for love and acceptance inside a landscape of damaged Hollywood Dreams. No Ashes, No Phoenix Director/Film writer: Jens Pfeifer. (Germany) World Premiere A locker room expose about youthful basketball gamers in Hagen, Germany who face their fears of losing and challenge enormous odds to achieve success. We're Legion: The Storyline from the Hacktivists Director/Film writer: John Knappenberger. (USA) World Premiere A romantic look inside the field of Anonymous, the radical "hacktivist" collective which has changed civil disobedience for that digital age. Related Subjects

Holiday specs off and away to nice beginning

CBS paired 'Rudolph the Red-colored-Nosed Reindeer' and 'Victoria's Secret Fashion Show' on a single evening, and saw rankings boosts for specs. 'Victoria's Secret Fashion Show'In primetime, the time between Thanksgiving and xmas is stuffed with holiday special offers about Santa, Charlie Brown, a particular red-colored-nosed reindeer -- and, naturally, models.CBS handled a method to accomplish the apparently impossible, drawing strong rankings -- on a single evening, actually -- because of its unlikely combo of "Rudolph the Red-colored-Nosed Reindeer" and also the "Victoria's Secret Fashion Show." Once they broadcast on November. 29, both shows published rankings gains versus. this past year, joining a slew of publish-Thanksgiving event programs to spike within the Nielsens."Rudolph" increased 4% in grown ups 18-49 (4. rating/11 share) because of its best demo score in 3 years while drawing its biggest overall aud (12.64 million) in 4 years. And "Victoria's Secret" increased 35% in 18-49 (to some 4.6/12) and came its greatest overall crowd (10.4 million) in nine years.The concept to operate the special offers on a single evening is one thing that will figure to transmit folks such as the Parents Television Council right into a tizzy, however they haven't designed a fuss. Really, they'd don't have any reason to, because the internet smartly marketed each individually and placed the broadly appealing "NCIS" together.Anyone who viewed the network's doubleheader of National football league action on November. 27 saw numerous promotions for "Rudolph" and "Victoria's Secret" it is simply that they are never recommended like a tandem.Another perennial holiday fave, "A Charlie Brown Christmas" on ABC, averaged a couple.8/8 in 18-49 and 9.a million audiences overall on 12 ,. 5 -Up 8% within the demo contributing to a million total audiences versus. this past year. Auds also demonstrated more curiosity about the 3 music special offers which are now a standard feature of the holidays -- even though they are hardly rankings dynamos.At ABC, "CMA Country Christmas" on 12 ,. 1 increased 50% in 18-49 (to two.1/6) and 23% as a whole audiences (to 9 million), keeping the internet competitive on the evening if this preempted dramas "Grey's Anatomy" and "Private Practice."Fox did OK on 12 ,. 6 using its second "American Country Honours" (2./5 in 18-49, 7.4 million), up 33% from the low start last year and CBS saw slightly enhanced amounts because of its November. 30 "Grammy Nominations Concert" (1.9/5, 5.7 million), though these amounts really are a mere fraction of the items the particular honours show does (a lot more than 26 million audiences this season). Contact Ron Kissell at ron.kissell@variety.com

Gary Oldman on The Dark Knight Rises and Tinker, Tailor's Master Spy Smiley: He's 'Like Jazz'

At the center of Tomas Alfredson’s marvelously taut espionage thriller Tinker, Tailor, Soldier, Spy (based on the John Le Carr novel previously adapted into a celebrated 1979 British miniseries) is an unusually understated turn by Gary Oldman as George Smiley, a recently retired career spy of few words quietly trying to uncover a mole within British intelligence. Oldman acknowledges a departure of sorts from the wild, often manic characters he built much of his career on — Sid Vicious, Count Dracula, Beethoven, DEA agent Stansfield of Leon, to name a few. Some of Oldman’s best-known roles are, as he described to Movieline this week in Los Angeles, more rock ‘n’ roll. “Smiley,” he explained, “is jazz.” It’s that precise quality that lends such an indelible reverberation to Oldman’s Smiley, the hero of Tinker, Tailor, Soldier, Spy. Among a cast that includes excellent British stars and character thesps including Colin Firth, Toby Jones, John Hurt, Mark Strong, Benedict Cumberbatch, Ciaran Hinds, and Tom Hardy — the deepest bench of the year, one could argue — Oldman moves quietly and deliberately with the deceptively difficult task of conveying emotion, cognizance, and menace in a character who betrays nothing to those around him. Oldman’s Smiley is, in effect, the most discreetly badass spy in the history of spy movies. Movieline sat down with Oldman to talk Tinker, his instant adoration of director Alfredson, listening to raconteur/co-star John Hurt’s great on-set stories, growing mellow with age, the joys of being part of The Dark Knight Rises, and the lure of returning to George Smiley in a Tinker, Tailor, Soldier, Spy sequel. How much familiarity did you have with the book and the previous dramatic adaptations before Tomas Alfredson’s film project came to you, and how much did that familiarity affect your decision to take on the part? Well, I knew of the books, I’d read the books and watched the TV series back when in ‘79. I remembered them. It was a big thing, a big deal back then; it was the real beginnings of long form TV, which we’re so used to now, but it was a unique thing back then. So I knew Smiley and thought, ‘This is a great opportunity.’ And then I met with Tomas very briefly for breakfast and he was describing one of the scenes that I think just speaks of the character of Smiley: When they’re in the car and he lets the bee out of the car. It’s a little vignette, a little silent scene, but it says a great deal about who he is. What gave you confidence in Tomas’s vision for the film? Tomas’s take on the material… he’s an original piece, Tomas. He’s unique; he talks about color in terms of smell. How so? He wanted to capture the smell of damp tweed in the color palette. He’s an unusual guy, and I liked him instantly, really. As Tomas has said, it was kind of love at first sight. We met and we talked for an hour and then I got on the phone to my agent who’d set the meeting up and he said, ‘How’d it go?’ I said ‘I adore him!’ I could easily spend 12 weeks in this guy’s company. Have you met him? No, I haven’t! But I loved Let the Right One In. There’s a scene in Tinker that moves so exquisitely: Smiley is piecing the puzzle together in his mind, in his memory, and Tomas intercuts that with a visual of train tracks clicking into place. Yes, where it all kind of connects. And even in the safe house at the end, when we’re zeroing in on the mole, there’s a scene where I’m listening. I’m eating the mint and just listening. I said to him, ‘But you’ll shoot the usual feet going up the steps, the hand ringing the door, the guy arriving, all of that…’ And he said, ‘No. I’m just going to shoot it on a close up of you, and I’ll use sound effects.’ I said, ‘Surely you’ll shoot some of that and cut back and forth…’ and he said, ‘No.’ He was very clear in his vision. Is that unusual, while you’re shooting a scene, to have such a specific idea of what the finished, edited scene will look like? Yeah, and it helps. I can’t think of any other director that would have used “La Mer,” by Julio Iglesias, a very rare recording of him singing. It was his idea of opening up a window, that we’ve been in this rather stuffy, claustrophobic world, and it was almost as if you opened a window at the end. But he played that for the actors so that Colin [Firth] and Mark [Strong] had the soundtrack when they were playing the scene. I loved their storyline; the element of the love between those two characters was beautiful. And we don’t really know the nature of their relationship. It could have easily been sexual, it could have been just a crush. It’s never really explained. Have you read the book? I haven’t, but I suppose it all goes back to Le Carr’s original work. How much did you find the book helped you, or having seen the miniseries? The book’s fantastic. The miniseries is the book, seven hours, and it’s line for line, word for word. Pretty much the entire book. But it’s lovely, the way it’s structured. At the end Smiley reminisces about [character name redacted] in the last third of the book, after he’s gone and he’s gone to see the girlfriend and gives her money. As he’s walking away, you’re with him in his head and he’s thinking about him and there are beautiful passages in it. It’s a beautifully-written book. I’d recommend reading the book, and then if you can be bothered then see the series which is very, very well done. So you found Le Carr’s book essential. For everything. And even when scenes are reduced to a composition, and four lines and a look or something, you always came in with the book, your life. It was the subtext that you brought into the room. So if a scene started in the middle, the book always sort of supported you. This is a very quiet film, in that there are so many scenes with very little dialogue or it’s all in a look, a glance. And here you had such a great, deep cast. Could you feel that energy in the room, with each person bringing in their character’s history, in the room while a scene is happening? [Smiles] Yeah. You could feel that. It was a very present, very focused, quiet set in that respect. [Pauses] We had some laughs, though. The lovely John Hurt is a great storyteller. What kinds of stories did he have? He’s just lived a life! He’s lived such a sort of interesting life, and has worked with so many wonderful people, so he would just start to tell stories about other actors or people that he’s met over the years. We were once hanging out and we had about an hour to kill so he came to my trailer and we had lunch, and he was telling me what it was like to work with Richard Burton. Just a great raconteur and a nice man, John. Do you find you’re like that yourself, on set with younger actors? Well, the more life you’ve lived the more you have, I guess. The memories and experiences to share. Especially with younger actors who are coming up and it’s all happening for them, in that respect. I look at Tom Hardy and I remember being there, in that moment.

Code cracks deal for 'Sad Jack'

Code Entertainment has acquired Chris Borrelli's action spec "Sad Jack," following more than per week of discussions among multiple bidders.Producers are Code's Al Corley, Bart Rosenblatt, Eugene Musso and H2F's Chris Cowles. Professional producers are Jonathan Dana, Borrelli and Chris Fenton at H2F. Code is financing and striving to go in production next summer season."Sad Jack" notifies the story from the hired assassin who's challenged by his paranoid schizophrenia to differentiate real risks from people produced within the imagination.Other bidders inside the mix incorporated White-colored Knuckle, Mandalay Vision and Bold Films.Borrelli's credits include "Whisper" for Universal, "The Marine" for Fox, "Wake" for Exclusive Media and "Vatican Tapes" for Lionsgate/Lakeshore.Borrelli is repped by WME, H2F and attorney Rob Frankel. WME also reps Code. Contact Dork McNary at dork.mcnary@variety.com

Aeroplano, Buena Onda form alliance

Buenos Aires-- Sebastian Aloi's Aeroplano, which is based out of L.A. and Buenos Aires, has formed a production alliance with Italy's Buena Onda Intl. First films up are Argentine Lautaro Nunez de Arco's "Corazon de perro," and Italian Beniamino Catena's "Io Sono Vera."Both titles play off two phenomena: a market appetite for arthouse genre films; Argentina's attractive mix of low production costs, especially when compared to neighbor Brazil, yet high-quality technicians. "Perro" is a '50s-set Argentine love story between a girl brought up as a boy by her lumberjack father and a kid who grew up in the woods with a dog pack. "Vera" turns on a girl who disappears when she's seven into a parallel world only to return years later. Catena directed Canale 5's mega-hit series "Squadra Antimafia."Both pics shoot in Argentina next year, "Vera" first, "Perro" August/September."The quality of technicians and production values for the money you pay in Argentina is excellent," said Buena Onda Intl. partner Donald Ranvaud.Ranvaud has a distinguished Latin American c.v., exec producing Walter Salles' "Central Station" and Fernando Meirelles' "City of God" and "The Constant Gardener."Aloi also has a knack of supporting new directors. Most recently, Aloi produced Nicolas Goldbart's groundbreaking Argentine sci-fi black comedy, "Fase 7" bought for the U.S. by Bloody Disgusting Selects and The Collective. "I'm interested in producing genre films out of Los Angeles but also discovering new talent in Argentina," Aloi said. Contact the Variety newsroom at news@variety.com