This Halloween, Make sure to Remember Harry Potter's Parents' Dying

Curb people Halloween spirits -- today can be a day's mourning. No less than if you're a 'Harry Potter' fan. Yes, right below the trending subject of "Happy Halloween Everyone" on Twitter is "RIP James and Lily Potter." Around the imaginary March. 31 30 years ago, the happy couple sacrificed their lives for boy, Harry. Little did they already know that the boy would develop being the chosen one and save the entire wizarding world within the evil Our god Voldemort. The Hollywood Reporter highlights that some 'Potter' fan sites will probably be arranging a moment of silence today at 3 p.m. GMT (a.k.a. 11 p.m. EDT). Really the only guy who won't be crying? Clearly, Our god Voldemort. However, probably the Dark Our god is at a cheerier mood today. According to his Twitter account (yes, Voldemort features a Twitter account), the evil Wizard tweeted "Happy Halloween. Your treat is always that I permit you to live." So, when you are dressing within your little costumes so on to get your free chocolate, bear in mind that James and Lily Potter died for that to trick-or-treat. [via THR] [Photo: Warner Bros.] Follow Moviefone on Twitter Like Moviefone on Facebook

Big Brother's Cassi Colvin Gets Sudsy on The Bold and the Beautiful

Cassi Colvin Big Brother 13 contestant Cassi Colvin - a real-life model and Olivia Wilde lookalike - makes her acting debut on The Bold and the Beautiful October 20 in a role that won't require heavy lifting. She plays a model, conveniently named Cassi, who's working with up-and-coming designer Hope Logan (Kim Matula) on the new "Hope for the Future" fashion line. "Thank God I was answering to my own name so I didn't miss a cue!" says Colvin, a 15-year vet in the modeling biz who started posing professionally at age 11 and went on to lucrative contracts in NY, Milan, Sydney and Hong Kong. "I had a great time on The Bold and the Beautiful but the job came right out of the blue - I'd never even seen the show," Colvin says. "I'm not looking for an acting career at all. My big dream is to get my wings!" While waiting for that call from Victoria's Secret, the twangy Texan went on Big Brother last summer and tried to hide her profession to avoid jealousy. It didn't work. The eventual champ, Rachel Reilly, took an instant dislike to Colvin and made sure she was quickly bounced. "I'm comfortable in my own skin and I like who I am on the inside and Rachel couldn't handle it because of her own insecurities," Colvin says. "I wasn't affected by what she thought of me and that was a big threat to her." Damn! In a near collision we would have relished, Reilly will also be a guest on B&B - but just a few days after Colvin. Details on that next week! Subscribe to TV Guide Magazine now!

Shall We Be Really To Date In the Madhouse? (Women li fengrenyuan jiujing you duo yuan?)

Directed, edited by Li Hongqi.With: Yang Haisong, Xu Bo, Shi Xudong, Jonathan Leijonhufvud. (Mandarin dialogue)The epic journey of gifted Chinese publish-punk band P.K. 14 is offered radical motion picture treatment in "Shall We Be Really To Date In the Madhouse?" Among China's most inventive rising filmmakers, Li Hongqi ("Winter Vacation"), flexes his filmmaking muscles by rethinking the background music doc in the ground-up. Li's typically deadpan wit results in within unpredicted ways, that will strike guitar chords with progressive and music-niche fests worldwide. A Redflag Films/Egosum production. Created by Alex Chung. At first glance, nothing appears particularly unusual concerning the first moments of the film in regards to a band that fans in the western world have noted for only a few years, climax been a fixture of landmass China's alt scene for over a decade. The bandmates (singer Yang Haisong, guitarist Xu Bo, bassist Shi Xudong and drummer Jonathan Leijonhufvud, on crutches having a damaged leg) spend time in hotels, talking away. However it soon becomes obvious the scene lacks any seem sync rather, various animal noises replace what dialogue there might be. This opening sequence may take getting accustomed to, just like possibly with any opening inside a Li film, which always begins by tossing the viewer off-kilter. Once the bandmates hit the18 wheeler-clogged highway within their cozy, humble van, their music gets control, and Li edits the sequences in ways that enables the tunes (in subtitled Mandarin) to experience from beginning to end. The hypnotic flow from the journey meshes perfectly using the growling, semi-abstract washes of seem and words that characterize P.K. 14's style (the band's title is short for "Public Kingdom for Teens"). The pictures never function as mere backdrop, but form an image of the progressively hyper-industrialized China moving. The film initially follows a pattern of images from the group on the highway (colored), and off course (in black-and-whitened), but changes emphasis and tone when the focus is around the gigs, which Li shoots and constructs in characteristically unconventional modes. To begin with, your pet soundtrack continues just when music could be anticipated, so when the background music is heard, it's deliberately from sync using the picture. Even this disconnect is not entirely obvious before the finish of the extended, ultra-lengthy shot from the hard-working group brought by Yang's impassioned vocals. This fascinating separation of image and seem makes "Shall We Be Really To Date In the Madhouse?" (the title of among the group's most widely used tracks) one of the most striking and distinctive films about music artists associated with a stripe recently. When the group's music is publish-punk, then Li's filmmaking here's publish-Godard, meaning of the way the auteur reframed and rejiggered the Moving Gemstones in the "One Plus One (Sympathy for that Demon)." Li's lensing is resolutely rough and unrefined, offering up a significant different look in the fixed, neutral perspectives in the narrative features. Pic will definitely open a brand new audience for that band, in addition to its offshoot, the greater lyrical two-person unit Dear Eloise, heard here on some lovely tracks that bring fine sonic variety towards the overall soundtrack.Camera (color/B&W, widescreen, DV), Li music, P.K. 14, Dear Eloise production designer, Qin Yurui seem (stereo system), Guo En'ru. Examined at Vancouver Film Festival (Dragons and Tigers), March. 3, 2011. (Also in Hong Kong Film Festival.) Running time: 85 MIN. Contact the range newsroom at news@variety.com

Albanian Oscar entry disqualified

'The Forgiveness of Blood'Albania's option for foreign-language Oscar race, American director Joshua Marston's "The Forgiveness of Bloodstream," continues to be disqualified following the Academy made the decision this didn't have sufficient local input.Marston's film, shot on location within the Balkans country having a largely local crew and inventive team, is one of the modern impact from the country's tradition of bloodstream feuds.Having a Berlinale Silver Bear-top rated script which was co-compiled by an Albanian and dialogue that's all Albanian, the film was nominated late September following the Albanian Oscar committee checked it met Academy Award criteria.But following the director of "Amnesty," 1 of 3 other local films that unsuccessful to create the cut, complained, the Academy revisited the problem a week ago and made the decision to disqualify "Bloodstream."Bujar Alimani wrote a proper letter of complaint towards the Albanian National Center of Cinematography demanding that Marston's film be disqualified on that grounds it would be a mainly American production.That seems to possess found a target in La, where an Oscars committee is understood to possess examined your decision and disqualified Marston's film a week ago for the reason it unsuccessful to satisfy local crew composition criteria.In a meeting Friday in Tirana, Albanian Oscar selectors that incorporated basically among the committee which had initially selected Marston's film, required another election and "Amnesty" was formally selected because the country's nomination for foreign-lingo film.The committee comprised of film industry professionals, Esat Musliu, Bujar Lako, Durim Neziri, and Agron Tufa although not author Teodor Laco."The main one board people who had been most open for 'The Forgiveness of Bloodstream,' author Teodor Laco, did not attend the meeting for private reasons," a movie industry source in Tirana told Variety on Sunday.Your decision in L.A. to overrule the sooner nomination wasn't well accepted by some in Tirana.Artan Minarolli, mind from the ANCC, told Variety: "The board in Albania chosen for 'Forgiveness of Blood' for many [particular] reasons. The most crucial are: The film is 100% in Albanian Language. The storyline and also the support of Albania, too, is strong within this film. Producer is Albanian and one of the leading producers here. He and also the director spent a very long time in Albania prior to the shooting and developed the script and also the project in close relationship with Albanian and technical people."Minarolli added he had attempted to describe towards the Academy committee in La that because Albania includes a small film industry it's inevitably carefully associated with foreign professionals and all sorts of local films involve the participation of foreign creative talent and crew."It's a cosmopolitan cinema that attempts to survives through cultural exchange. Previously Albania was totally isolated today we try to look for reality in cinema and also to replace with time we lost in the last half a century. The Academy must understand this."However, Alimani, director of "Amnesty" welcomed your decision.He told Variety the original decision have been in "breach from the rules from the Academy itself my protest wasn't for private reasons, but because Personally i think that Albania has cinematographers who are able to be symbolized in a world level choosing my film 'Amnesty' because the official Albanian nomination gives aspire to youthful moviemakers in Albania and honors the job of my staff."Marston, who learned Albanian throughout the building of his film, "The Forgiveness of Bloodstream," stated: "It's disappointing, to be certain. There is a lot Albanian creative participation in the building of the film. For that Academy to concentrate only on six key crew positions because the barometer of their Albanian-ness, in my experience, is sad."He added: "The film ['The Forgiveness of Blood'] is created by Albanians, in Albania, about Albania as well as in the Albanian language. But an excellent film like Kaurismaki's 'Le Havre,' that was shot in France having a French cast along with a French story, qualifies as Finnish? And 'As Should I Be Not There,' that was shot within the Balkans and it is in Serbo-Croat having a cast from that region, qualifies as Irish? It's absurd."I believe there's an issue with the machine when Hollywood states know much better than the posting country whether a movie goes for them. It's incredibly disempowering and disenchanting for any country having a youthful film industry." Contact the range newsroom at news@variety.com

New Regency moves into 'Broken City'

WahlbergCroweNew Regency has come on board to co-produce the Allen Hughes-helmed drama "Broken City" with Mark Wahlberg and Russell Crowe attached to star. Project, written by Brian Tucker, hails from Emmett/Furla Films. New Regency is co-financing the pic, which will be distribbed by Twentieth Century Fox, per its deal with New Regency. "Broken City," set against the backdrop of contemporary NY, centers around a former cop-turned-P.I., who, while attempting to turn his life around, finds himself thrust in the middle of the seedy backroom politics of a corrupt mayoral election. Wahlberg is producing alongside Hughes, Randall Emmett, Stephen Levinson and George Furla. Wahlberg and Crowe are repped by WME. Contact Rachel Abrams at Rachel.Abrams@variety.com

REVIEW: Gosling and Clooney Bring Movie-Star Chops, and Movie-Star Stubble, to The Ides of March

George Clooney’s The Ides of March is an actors’ movie, a picture that gives performers some provocative things to do without necessarily providing a great story for them to hang onto. It’s also a movie made for grown-ups, and Lord knows there are few enough of those around today. But this story of an idealistic young press secretary who finds his principles eroded at the hands of a corrupt Democratic presidential candidate keeps getting in the way of its own chin-stroking: It’s carefully designed to make us think it’s making us think, but in the end, what’s it really telling us? That politics — and politicians — can be dishonest and ugly? Please don’t stop the presses for that one. But at least The Ides of March — which was written by Clooney, Grant Heslov and Beau Willimon, adapted from Willimon’s play Farragut North — is neatly constructed, made with a respectful bow in the direction of classic Hollywood filmmaking. Clooney is sometimes a middling director (Leatherheads) and sometimes a terrific one (Good Night, and Good Luck), but at the least he’s motivated by a desire to tell stories in a straightforward way without excess clutter or showiness. He also knows that even pictures that feature a lot of guys talking (and The Ides of March is definitely one of those) don’t have to be visually dull: Cinematographer Phedon Papamichael sometimes lights and shoots the actors as if they were sitting for Hurrell portraits. At one point I found myself momentarily distracted by a small, artistically lit triangle of stubble below Ryan Gosling’s lip, but my God, what stubble! There’s a time and a place for movie-star whiskers, and this is one of them. Gosling plays Stephen Myers, a canny young go-getter whose eyes glow like greenish-brown coals as he explains what he loves about the candidate he’s working for, Clooney’s Governor Mike Morris. Morris is one of those understated but charismatic figures who can make a rousing speech in a way that makes him sound both progressive and nonthreatening — he’s slippery that way (and, it turns out, in other ways too), but his principles do seem believable and sound. Stephen and Morris’ campaign manager, Paul Zara (Philip Seymour Hoffman, playing the kind of guy who balances shrewd efficiency with the appearance that he just rolled out of bed), are trying to steer their boss through a tricky Ohio primary. Meanwhile, a rival campaign manager, Tom Duffy (Paul Giamatti), steps in to stir up trouble — with his darting eyes and lizardy smile, he’s a Beltway Beelzebub. And a NY Times reporter — played with hungry-mutt persistence by Marisa Tomei — pumps everyone relentlessly for information they don’t want, or are unable, to give. Stephen works hard, but he plays hard, too, and Lord knows there are plenty of adorable young interns around to help out with that. One of the sauciest, Molly (Evan Rachel Wood, who does a fine job balancing brittleness and vulnerability), flirts with him brazenly, and he can’t resist the bait. They end up sleeping together, and though Stephen hopes to keep things casual, he finds himself drawn in by the desperate secret she’s been keeping. As a director, Clooney orchestrates the action nimbly and with a degree of caginess — he seems to enjoy the process of letting the cat out of the bag only bit by bit. And as an actor, he’s admirably low-key here: He’s a muted presence, ceding everything to Gosling. In return, Gosling doesn’t take the proverbial money and run; he just sort of saunters out the door with it. This is a restrained, simmering performance: When Stephen starts flirting with Molly, he’s so suave he almost makes you forget he’s using every trick in the book — with his slightly downcast eyes and inquisitive smile, he’s like the idea of flirting, personified. The routine is charming as hell, until later in the movie, when Gosling lets us see that Stephen’s ability to get what he wants is hardwired into him — his aggressive ambition is the fraternal twin of his idealism, and it’s far less cuddly. Gosling’s performance is a whispered echo of everything that The Ides of March otherwise spells out. The chief idea here seems to be that even the most promising candidate can disappoint you. That might be a not-so-veiled criticism of our own beleaguered commander-in-chief, but I suspect Clooney intends it as more a rueful observation of the reality of human behavior. The Ides of March doesn’t cut as deeply or as sharply as Clooney might like, but at least he found the right actor to navigate its dark emotional twists and turns. Gosling’s Stephen, whether he’s operating out of deep-rooted integrity or ruthless self-interest, doesn’t seem to know what he’s capable of until he goes and does it. Maybe that’s how most people find their way into politics in the first place.

TV Ratings: 'The X Factor' Steady; 'Survivor,' 'Harry's Law' Hit Lows

Monty Brinton/CBS"Survivor: South Pacific" The X Factor is paying off. The 90-minute effort of Simon Cowell's competition series (11.5 million to total viewers, 3.9 rating in adults 18-49 demographic), which retained 100 percent of the audience among adults 18-49 from last week's comparable telecast, boosted Fox for the nightly win in the demo with a 3.5 rating in primetime. PHOTOS: Fall TV Death Pool: Which New Show Will Be Axed? A special episode of Raising Hope (6.2 million, 2.3) at 9:30 p.m., however, didn't improve following X Factor. Compared to Tuesday's original -- following New Girl -- Hope sank substantially in 18-49 (2.3 vs. 2.9). CBS' Survivor: South Pacific (10.5 million, 3.1), meanwhile, posted its lowest-rated regular telecast to date against the first hour of X Factor. Criminal Minds (13.3 million, 3.8) rose 6 percent while CSI (11.8 million, 2.9) went the other way, seeing a 6 percent dip -- though the latter won its 10 p.m. time slot against Revenge and Harry's Law. CBS topped the night in viewers, averaging 11.9 million and placed a close second behind Fox in 18-49, posting a 3.3. PHOTOS: Fall's 12 Most Anticipated Shows ABC's comedies had slight dips, though The Middle (9 million, 2.7) -- in the lead-off spot -- remained steady from its previuos outing. Rookie sitcom Suburgatory (9.1 million, 3.0) improved open its lead-in, though it was down 9 percent from its debut. The highest-rated program of the night, Modern Family (13.1 million, 5.6), saw just a 2 percent decrease, while Happy Endings (6.9 million, 2.9) slipped 6 percent. Notably, ABC won the 9 p.m. hour in the demo, posting a 4.2 rating. At 10 p.m., Revenge (7.7 million, 2.5) dipped 7 percent. PHOTOS: 10 Shows Canceled Faster Than 'The Playboy Club' NBC's Up All Night (5.7 million, 2.2) improved against stiff competition, but struggling workplace comedy Free Agents (3.3 million, 1.0) didn't. With Up All Night, the network is up 57 percent in the 8 p.m. slot compared to the same night last year. Sophomore law drama Harry's Law (8.2 million, 1.2) tied its series low and Law & Order: SVU (7.9 million, 2.1) remained steady. Over on the CW, H8R (1.1 million, 0.4) and America's Next Top Model (1.7 million, 0.8) aired. TV Ratings

Clint Eastwood Stars In Danger Using The Curve Malpasos Robert Lorenz Pointing

BREAKING: While Clint Eastwood was likely to follow pointing J Edgar by pointing A Star Comes Into The World with Beyonce, being pregnant has put that project off. Rather, I hear he’s seriously searching at starring in danger Using The Curve, a project at Warner Bros which will mark the feature directorial debut of his Malpaso partner Robert Lorenz. The Randy Brown-scripted film is all about a maturing baseball scout, who’s losing his sight, and heads on the last journey to Atlanta together with his daughter to scout a hotshot prospect. They'll lock Eastwood and Lorenz’s deals before setting an actress to experience the daughter. Malpaso will produce. Apart from being Eastwood’s longtime business partner, Lorenz continues to be assistant director on a lot of Eastwood’s films, including Billion Dollar Baby, Mystic River and Bloodstream Work.

'Pan Am' flies to Germany

BERLIN -- ProSiebenSat.1 has boarded "Pan Am" for Germany. The Munich-based broadcasting group, which introduced the acquisition within the Mipcom TV mart in Cannes, is nearly the most recent taker for ABC's sixties-jet-set drama, which stars Christina Ricci, Margot Robbie, Michael Mosley and Mike Vogel. ProSiebenSat.1 has yet to announce which in the group's channels will carry the series or maybe this can air in Germany. The series has offered in lots of major areas, like the U.K. (BBC), France (TF1), The nation (Canal Plus), Canada (CTV), Japan (Imagica Baloney) and Australia (Nine Network). "Pan Am" got on the effective start, bowing having a 11 million audiences together with a 3.1 share, but lost altitude having its second episode, climbing lower 19% in the premiere score but nevertheless delivering OK amounts. "Pan Am" is produced by Jack Orman Productions, Unexpectedly Entertainment and Shoe Money Productions, in colaboration using the new the new sony Pictures Television. Contact Erection dysfunction Meza at staff@variety.com

AMC/Sundance Channel Global Picks Up International Rights to 'Breaking Bad'

CANNES - AMC/Sundance Channel Global has snapped up select international rights for Emmy-winner Breaking Bad as well as new series Hell on Wheels and The Slap for Sundance Channel Global and Shannen Doherty's new show Shannen Says for WE tv Asia.Related Topics•MIPCOM In a deal announced at MIPCOM Tuesday, The Sundance Channel in Asia picked up seasons 1-4 for Breaking Bad from Sony Pictures Television. Sundance's Asian channel will also air AMC's new Civil War drama Hell on Wheels, though an agreement signed with Entertainment One. Sundance will also have broadcast rights in Spain and premiere window rights in Portugal, Eastern and Central Europe to the series through a deal with Hell on Wheels producer Endemol. Sundance Channel also bought the rights to The Slap, a drama series based on the bestseller by Christos Tsiolkas, for Asia, Spain, Eastern Europe, Portugal, Greece and Turkey from DCD Rights. Related Topics International Hell on Wheels Breaking Bad MIPCOM

Turkey's 'Once' in Oscar bid

TEL AVIV -- Helmer Nuri Bilge Ceylan's "Once Upon a Time in Anatolia," Turkey's submission for foreign-lingo Oscar, is an intense and slow-moving drama about the search for a corpse in the grasslands of Turkish Anatolia. A doctor, a public prosecutor, a police chief and a murder suspect together comb the region's vast steppes in what becomes a critique on bureaucracy and a meditation on guilt and responsibility. Pic, co-winner of the Grand Prix at Cannes, is Ceylan's second selection for the Oscar pool. In 2009, Turkey submitted his "Three Monkeys," which made it to the Academy's nine-film shortlist but was not nominated. Turkey's Committee of Artistic Activities, an independent body of film professionals, chose "Once Upon a Time in Anatolia." This year the committee, known by its Turkish acronym SEK, included director Semih Kaplanoglu and actress Meltem Combul. The 84th Academy Awards will be held Feb. 26 at the Kodak Theater in Hollywood. Contact the Variety newsroom at news@variety.com

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