Starting immediately, Movieline will begin producing video content under its distinctive brand. These new segments will be three-fold: Movie Previews, Talent Previews, and News stories. All segments will be hosted by Tatiana Carrier and will run approximately 2 to 3 minutes in length.

PMC’s Chief of Video Strategy and GM of ENTV Michael Davis will executive produce and oversee the Movieline brand moving forward. The first segments to air will be movie previews – essentially a consumer’s “Movieline” for all the latest films slated for upcoming theater release. These videos will include the film’s storyline, scene footage, cast interviews, and red carpet moments. As an added bonus, these Movieline segments will also feature a unique and interesting tidbit about the film – to further pique a potential viewer’s interest in the film and also enhance the eventual movie-going experience.

Said Davis, “We wanted to create the perfect complement to movie trailers – a more dynamic and all-inclusive segment targeted to moviegoers’ interests, delivering them the information they need to make a decision on what to see at the theaters, while also creating a library of evergreen content that works for DVD, VOD, and all other release moments in the life of a movie.”

The next wave of Movieline segments will feature film talent—top actors, directors, and producers—previewing the films and projects each has in the release pipeline. All of these segments will be supported with breaking news updates powered by PMC’s reporting prowess that includes a dynamic range of today’s most respected entertainment brands: Variety, Deadline Hollywood, Hollywood Life, TVLine and more.

Yet another unique aspect of Movieline’s reinvention is that PMC will be launching this experience on the YouTube platform, with syndication to other platforms to follow. Through their YouTube Original Funded Channel ENTV, PMC has seen great success and growth on YouTube, with over 135M views on the channel in its first year. PMC has also expanded its YouTube efforts with the inclusion of a multi-channel network (MCN) called PMC Studios. Movieline will incorporate into its segments the content from its MCN channel partners—including BlackTree Media, Beyond the Trailer, Variety and others—therefore launching a consumer-facing and focused channel for PMC’s entertainment vertical properties.

About Penske Media Corporation (PMC): PMC is a leading digital media and publishing company founded by Jay Penske in 2004. Today, PMC engages with audiences across the web as well as television, mobile, print and social media to reach more than 115 million consumers monthly, according to Comscore. PMC owns a unique and growing portfolio of lifestyle brands that provide the web's best original content in categories including entertainment, sports, breaking news, media, finance, tech, health, shopping, fashion, beauty, and automotive. PMC Studios, Movieline, Deadline Hollywood, Variety, OnCars, Hollywood Life, ENTV, India.com, BGR, TVLine, AwardsLine, Young Hollywood Awards, The Style Awards, and Breakthrough of the Year Awards are all part of the expanding PMC portfolio. For more information on PMC and its brands, please visit www.PMC.com or its digital properties directly.

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There's even more footage of him and Jean Grey looking loved up around the 27-second mark, although the gauzy quality of scene suggests a flashback or dream sequence.

The Claws Are Out

More on The Wolverine: 

X Ex: Jean Grey Makes Cameo In Six-Second 'Tweaser' For 'The Wolverine'

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Check it out below:

Iron...Man, That's A Parody!

[Kotaku]

More on Iron Man 3: 

EARLY REACTION: 'Iron Man 3' − The Mandarin Is Marvel Studios' Most Daring Super Villain Yet

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The conventional thinking goes that until roughly World War II, society and scientists alike thought of life as two distinct stages, divided between children and adults. The former were patronized and sheltered up to a certain point, then shuffled off to work in factories at a young age. In the introduction to his paradigm-shifting book, Teenage: The Creation of Youth Culture, Jon Savage, who collaborated with Wolf on this film, reveals that his initial research into the subject began as background for a possible television series, suggesting that he always intended a multimedia approach to the topic.

Eschewing the traditional TV documentary style, Wolf innovates a radically different format for the material, blending archival artifacts with invented elements to create an intimate, far more personal history of the emerging demographic across the four decades between 1904 and 1945, when Elliot E. Cohen published his young person’s manifesto, “A Teen-Age Bill of Rights,” in the New York Times. Though much of the footage has a stock newsreel feel, Teenage is clearly intended to suggest a home movie record of its era. To that end, Wolf interweaves staged, retro-styled scenes of various characters to foster the illusion of a candid look at various youthful cliques of the time, ranging from London’s Bright Young People to the anti-Hitler “Edelweiss Pirates.”

Pic’s most obvious innovation is the absence of a dry, all-encompassing narrator, replaced by four voiceover actors hired to read excerpts from journal entries of the period (embellished with original dialogue designed to match elements from the filmmakers’ research). Jena Malone performs an early-century American girl, Ben Whishaw represents the British youth, Jessie Usher captures the unease of African-American teens and Julia Hummer plays a German fraulein whose lines were excerpted from Melita Maschmann’s chilling Nazi-era memoir, Account Rendered — each directed to sound distractingly contemporary.

When combined with the vintage (or vintage-styled) visuals, these recitations produce an almost Terrence Malick-like effect, contrasting personal impressions with the more objective, journalistic imagery presented onscreen. As a work of sociological history, Teenage withholds too much context to be of use, overemphasizing the European side of what it calls “an American invention.” As a thought experiment, however, it is uniquely crafted to inspire auds to muse on how the experience of adolescence must have felt at a time cusp-of-modern moment when engaged and driven young people wanted to play a more proactive role in their world.

Nearly the entire history of cinema — much of it targeted at consumers in this very age range — retroactively applies our relatively recent understanding of teenagers as a distinct developmental stage to its young characters, and Teenage suggests how famous historical and literary figures (from Marie Antoinette to Romeo and Juliet) might have actually been perceived in their time. Still, 77 minutes is hardly adequate to cover the breadth of the four decades in question, and the film alternates between elegant transitions and confusing stretches as it tries to address everything from promiscuous, free-wheeling American flappers and “victory girls” to the ultra-organized, hyper-disciplined Boy Scouts and Hitler Youth.

More on Teenage:

INTERVIEW: 'Teenage' Filmmakers Matt Wolf & Jon Savage Make A Doc That Swings

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Here's my tally of the grisly deaths (and one amputation) that take place in the trailer. I left out the very last scene because, no matter how bad things look, it's no fait accompli.

*Death by nightclub speaker

*Death by cement pillar

*Amputation by falling shelving unit

*Death by immolation

*Death by falling concrete slab

*Death by Ax

*Decapitation by  speeding truck

Can anyone out there tell me whether that large crucifix that falls over in the movie has an actual human body nailed to it?  I've paused it a few times, and I think it's just a life-size facsimile of Jesus, but I'm not entirely sure.  That would up the body count to eight.

If The Earthquake Doesn't Kill You...

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At the center of that tension was the 87-year-old Lewis, who gives a brilliant, disciplined performance in the movie as the Johnny Carson-like talk-show host Jerry Langford. Given some of the recollections that were exhumed and catty comments that were made during the Q&A, Lewis was a handful on the set. When Bernhard appeared by video, she asked Lewis, "Hey, remember when you called me fish lips?" and then recalled that he stole back the handwritten apology he'd given her as a result. (This prompted Scorsese to start laughing into his chest.)

Sandra Bernhard vs. Jerry Lewis: The Feud

Three decades later, Lewis — who, in 2000, told a comedy festival audience, “I don’t like any female comedians — did not sound like time had softened his feelings for his female co-star.  In response to Bernhard's taped comments, he took his own shots, saying, “She’s the reason for birth control" and “She’s a wonderful guy, really. When you get to know him.”

That tension between Lewis and Bernhard, who's also brilliant in the picture, is palpable onscreen, especially during a so-pure-it's-hard-to-watch scene in which Bernhard's character  Masha strips down to her lingerie to express her obsession with the captive Langford (Lewis), who's bound to a chair with so much masking tape that he looks mummified.

When Langford finally gets free of his bonds, he expresses his anger in brute fashion, and Lewis' recollection of that scene suggested that he was really feeling the moment. The comic said that he told Scorsese, "I think when [Langford] gets out of the tape, he should punch [Bernhard] right in the mouth.’ [Scorsese] said, ‘You want to do that?’ I said, ‘More than you’ll ever know.”  (Bernhard told the New York Times that, initially, Lewis wanted to punch her and have her careen into a glass table adorned with lit candles, but she refused to do it. )

The Last Word

Through her spokesman, Bernhard declined to respond to Lewis' comments. And why should she?  All these years later, she still gets a rise out of Lewis, which has to be at least as satisfying as having the last word.

Although Scorsese, De Niro and Lewis shared a lot of laughs on stage during the Q&A, I detected an undercurrent of discomfort when the veteran comic began to resort to some  hoary Vaudeville-era gags that he's been trotting out for ages.  At one point, he reached into the inside pocket of his suit jacket and pulled out a red clown nose that he wore on his schnozz for a wince-inducing length of time. He also wrapped his lips around a large water glass and clowned around like that for what felt like an eternity. Around that time, I noticed that even though Scorsese was laughing at these antics, he had shifted his body away from Lewis and could be seen shooting De Niro a few looks that said, Can you believe this guy?

I can. Lewis' unquenchable need for attention and to control the situation is show-business legend. As Bernhard told me in an interview last week,  "Jerry loves to direct," and he has directed some fine films.  In the case of The King of Comedy, however, it's a testament to Scorsese's talents as a filmmaker that he was able to harness these potentially crazy-making dynamics and make them sing on screen.

Here's an excerpt from the Q&A.  Scorsese is talking about a memorable scene in the movie where Lewis' Langford character is stopped on the streets of New York by a woman on a pay phone who asks him to say hello to her nephew.  When Lewis declines, the woman, who has been all charm up to this point, tells Langford that she hopes his gets cancer.  It's a powerful scene about the public's demands upon celebrity, and, as Scorsese explains, it is based on an actual incident.  Here's hoping that the entire Q&A is eventually posted.

WATCH: 'The King Of Comedy' Reunion At Tribeca Film Festival -- Get Cancer

More on The King of Comedy: 

INTERVIEW: Sandra Bernhard Says 'It's Too Late' To Remake 'The King of Comedy'

[New York Times] 

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Director Shane Black, who also co-wrote the movie with Drew Pearce, created a character that took me completely (and happily) by surprise. And, after all that blogosphere grousing — myself included — about casting the half-British, half-Indian Kingsley in the role of a character that, based on the Marvel comics universe,  is a China-born descendant of Ghengis Khan, the Oscar-winning actor turns out be a genius bit of casting. There's only one other actor I could imagine doing justice to the part, but I'm going to hold off on sharing his name for now for fear that his body of work would be too much of a clue.  Maybe I'll drop it in the comments section after the picture opens.

The Mandarin: A True 21st Century Villain

I have a feeling Black and Pearce's construct for the Mandarin is going to piss off a lot of comic-book purists (while, at the same time, making die-hard fans of The X Files smile),  but I applaud them and Marvel Studios for taking the chance. The Mandarin turns out to be a villain for the media-saturated, perception-is-reality 21st Century, and that's a lot more memorable (and unsettling) than some dude with magic rings.  I wish I could write more about this, but that's about as far as I can go without spoiling a key chunk of the movie.

What did I think of Iron Man 3 overall?   I liked it, but it didn't blow me away. In part, I wish that Marvel, Pearce and Black had taken even more chances with the movie.  In addition to the Mandarin storyline, Gwyneth Paltrow's Pepper Potts character gets an interesting subplot, but the movie's ending left me with the distinct impression that  Marvel is so concerned about messing with the success of the Iron Man franchise that it waffled on really exploring the possibilities.

Superhero Movie Saturation Point

There's another factor, too, that is largely personal. My enjoyment of digital effects laden superhero movies is approaching its saturation point. Despite being one of those scrawny, bespectacled geeks who came of age poring over The Amazing Spider-Man and Deathlok The Demolisher,  I've reached a point in life where movies about human struggles are vastly more engrossing than superhuman ones.

Downey and the Iron Man franchise remains my favorite of the genre because the actor brings so much humanity and wit to his character, and so, besides the surprising Mandarin reveal, I was grateful for the subplot involving Tony Stark's mostly unsentimental relationship with a wisecracking Tennessee boy named Harley (Ty Simpkins) whose aid he enlists. My favorite line from the movie, which evoked a mixture of gasps and laughs from the audience, came when Harley reveals his fatherless existence to Stark.  "Dads leave," Downey replies. No need to be a pussy about it."  I'll remember that line long after the action sequences have faded.

The Problem With Trailers

And they are already fading. Let's just say that an army of Iron Men is cool to behold, but it does not necessarily make for better action sequences. But what does? The first effects-rendered action sequence that has turned my head in a long time is the scene from the most recent Pacific Rim trailer in which a Jaeger robot uses an oil tanker as a Louisville Slugger to bash in the skull of a Kaiju.   Speaking of trailers, they diminish the impact of some of the best action sequences in Iron Man 3 (and other tentpole movies) because they reveal too much play for months before a movie's release.

By the way, I think most moviegoers will disagree with my assessment of Iron Man 3 based on the reactions of the crowd that saw the movie with me.  The 3D glasses that were being passed out came in a number of collector's variants, and entering the theater, I encountered a scrum of moviegoers jostling each other to get a particular version.  During the movie, the crowd's reaction was enthusiastic and, after watching the disappointing post-credits scene with Mark Ruffalo as the Hulk's alter ego Bruce Banner, I heard a middle-aged woman excitedly telling someone on the other end of her cell phone, "I can't wait to see it again."

If you've seen Iron Man 3, let me know what you think in the comments section.

More on Iron Man 3: 

'Iron Man 3': Is The Mandarin An Extremist Fringe Republican?

Marvel Studios Says Iron Man 3 Villain The Mandarin Isn't Chinese, He's International

Iron Woman? If Pepper Potts Has A Future In Armor, She Needs To Kick Villain Ass

REVIEW: 'Iron Man 3' Proves Its Mettle Despite Symptoms Of Franchise Fatigue

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But I digress. Although those two unlucky souls who hit the plane's fuselage on the way out should probably be dead as a result of the impact, Shellhead's valiant attempt to rescue everyone when Jarvis is telling him he can only handle four sure does make for some effective dramatic tension. How his first save, Heather, can hear Stark above her own (justified) screaming and the wind is beyond me, but I'm suspending disbelief.   The "I'll electrify your arm and you won't be able to open your hand" is a nice expository touch, too.  Check it out:

We can do this, Heather!

More on Iron Man 3: 

Robert Downey Jr. Confirms He's The $50-Million 'Iron Man' − And Loving It

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This clip answers a lot of lot of FAQs about the plot and how the human pilots operate the Jaeger robots in tandem, although it does make me wonder how they ingest that yellow mind-meld fluid so quickly and keep from bugling it right back into their helmets.

Better yet, this clip finally torques up the dramatic tension to a level more befitting of a movie this ambitious and big. We get more of the human element, in the form of two Charlies — Hunnam & Day — a relatively civil Idris Elba, Rinko Kikuchi and a pimped-out Ron Perlman. And The Kaiju (monsters) finally look fierce and fast, and the scene of the Jaeger collapsing on the beach is a nice dramatic touch, as is the one where the Jaeger takes a tanker upside the head of one of the glowing creatures. "Go Big or Go Extinct" is also a lovely tag line.

Kicking Monster Ass

More on Pacific Rim:

'Pacific Rim' TV Spot − Is The Monster Lame Or What?

'Pacific Rim' Vs. Real World Physics: Giant Robots, Galileo, And The Square Cube Law

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Check out this romantic (and thoughtful!) trailer first then ponder the photos.

One more thing: Conan O'Brien should have Joel Edgerton on his show and do a skit where they both play Tom Buchanan.

More on The Great Gatsby: 

WATCH: 'The Great Gatsby' Trailer: There Will Be Screaming

[Daily Mail]

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