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‘More Than A Game’ Synopsis:

Five talented young basketball players from Akron, Ohio star in this remarkable true-life coming of age story about uncommon friendship in the face all too common adversities. Coached by a charismatic but inexperienced player’s father, and led by future NBA superstar LeBron James, the “Fab Five’s” improbable seven-year journey leads them from a decrepit inner-city gym to the doorstep of a national high school championship. Along the way, the close-knit team is repeatedly tested—both on and off the court—as James’ exploding worldwide celebrity threatens to destroy everything they’ve set out to achieve together. MORE THAN A GAME combines a series of unforgettable one-on-one interviews with rare news footage, never-before-seen home videos and personal family photographs to bring this heart-warming and wholly American story to life.

Lionsgate and Harvey Mason Media in association with Interscope Records present a Harvey Mason Media Production in association with Galley Boy and Spring Hill Productions a film by Kristopher Belman. MORE THAN A GAME is written by Kristopher Belman & Brad Hogan and directed by Kristopher Belman. The film features LeBron James, Sian Cotton, Dru Joyce III, Willie McGee, Romeo Travis and Coach Dru Joyce II.

“More Than A Game” Trailer w/ “Stronger” by Mary J. Blige
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WHAT GOES UP is a film about a morally challenged New York reporter, Campbell Babbitt (Steve Coogan), who learns life lessons from a group of dysfunctional students (Hilary Duff, Josh Peck, Olivia Thirlby) while covering the hometown hoopla surrounding the first teacher in space. Set in the 1980s, this is a poignant look at how heroes are made in a world devoid of heroes.

Upon arriving in the small New Hampshire town, Babbitt decides to call an old college friend, only to discover an apparent suicide. Babbitt gravitates toward his friend’s high-school students in hopes of finding an unsung hero story about a teacher who made a permanent impact on the social misfits of the school. Instead, he discovers the least likely teachers — a group of dysfunctional students – outcasts led by a narcissistic seductress (Hilary Duff), a repressed voyeur (Josh Peck), and a scheming pregnant teen (Olivia Thirlby). In a gradual reversal of roles, Babbitt soon finds himself learning from this unusual group of kids.

WHAT GOES UP stars Steve Coogan (Tropic Thunder, Night at the Museum: Battle of the Smithsonian) and Hilary Duff (A Cinderella Story), along with Josh Peck (The Wackness), Olivia Thirlby (Juno, The Wackness), and

Molly Shannon (TV’s Kath & Kim, Saturday Night Live). WHAT GOES UP is directed by Jonathan Glatzer and written by Jonathan Glatzer and Robert Lawson, produced by RD Robb, Jonathan Glatzer, and Jack Nasser.

James Hoke, Anthony Miranda, Joseph Nahas, and Steve Coogan serve as executive producers.

WHAT GOES UP will open on Friday, May 29

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The weekend box office ran on Diesel fuel.

“Fast & Furious,” Vin Diesel’s reunion with his cast mates from 2001′s “The Fast and the Furious,” was a smash debut with a $71 million weekend. The street-racing sequel co-stars Paul Walker, Michelle Rodriguez and Jordana Brewster.

The top 20 movies at U.S. and Canadian theaters Friday through Sunday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Monday by Media By Numbers LLC are:

1. “Fast & Furious,” Universal, $70,950,500, 3,461 locations, $20,500 average, $70,950,500, one week.

Madea’s back and better than ever. After a blink-and-you-miss-it performance in ‘Meet The Browns,’ Tyler Perry has brought back the zest in the character that made him a household name.

While the film, which stars Perry, Derek Luke, recent Oscar-nominated actress Viola Davis and the very grown up Keisha Knight Pulliam, isn’t perfect, Perry’s Madea is the component that holds the film together. She provides enough laughs and wisdom to please all audiences.

When last seen in ‘Meet the Browns,’ Madea was in a high-speed freeway chase with the cops. In this film, Madea is now in court, facing Judge Mablean for the umpteenth time. By Wilson Morales BlackVoices

‘Taken’ landed the third spot after pocketing 19.3 million dollars and ‘Confessions of a Shopaholic’ stood fourth with 15.4 million dollars, reports E! Online.
Coraline rounded off the top five with 15 million dollars.Watch the trailer after the jump

Weekend’s top-grossing films are:

1. Friday the 13th, $42.2 million
2. He’s Just Not That Into You, $19.6 million
3. Taken, $19.3 million
4. Confessions of a Shopaholic, $15.4 million
5. Coraline, $15 million
6. Paul Blart: Mall Cop, $11.7 million
7. The International, 10 million
8. The Pink Panther 2, $9 million
9. Slumdog Millionaire, $7.2 million
10. Push, $6.9 million

From our friends over at XXLmag.com
With Notorious still heating up theaters, earning an estimated $32 million in box office sales after two weeks, the film’s screenwriter Cheo Hodari Coker is in the process to tackle yet another hip-hop biopic.

According to the Hollywood Reporter, Coker – who along with writing Notorious’ screenplay also penned Unbelievable: The Life, Death, and Afterlife of The Notorious B.I.G. – has signed on to adapt Bill Adler’s Tougher Than Leather: The Rise of Run-D.M.C.–The Authorized Biography for the big screen.

The Run-D.M.C. flick hopes to engage the same viewing audience as the Biggie biopic, this time delving into the lives of rap legends Joseph “Run” Simmons, Darryl “DMC” McDaniels and Jason “Jam Master Jay” Mizell – whose life was cut short when he was shot and killed in 2002.

As Run-D.M.C. takes their ambitious life story to Hollywood, they will also be honored with an induction into the Rock and Roll Hall of Fame on April 4th; the second rap act in history to make it to the esteemed institution.

In related news, Jam Master Jay was also recently commemorated at the 2009 Sundance Film Festival with a documentary created by protégé 50 cent. The documentary, Two Turntables and a Microphone: The Life and Death of Jam Master Jay will be one of the first films released off of 50’s emerging film production company, Cheetah Vision and will be packaged along with a special edition of his upcoming album Before I Self Destruct. – Rosario Velazquez

Director: George Tillman Jr.
Cast: Angela Bassett, Derek Luke, Antonique Smith, Naturi Naughton, Dennis White

NOTORIOUS
IN THEATERS JANUARY 16, 2009
FOX SEARCHLIGHT PICTURES
www.notorious09.com

Watch the Official Movie Trailer for The Movie “The Secret Life of Bees” below.

Set in South Carolina in 1964, the film is the moving tale of Lily Owens a 14 year-old girl who is haunted by the memory of her late mother. To escape her lonely life and troubled relationship with her father, Lily flees with Rosaleen, her caregiver and only friend, to a South Carolina town that holds the secret to her mother’s past. Taken in by the intelligent and independent Boatwright sisters, Lily finds solace in their mesmerizing world of beekeeping and more.

Based on the bestselling novel by American author Sue Monk Kidd, the movie adaption stars Dakota Fanning, Queen Latifah, Alicia Keys, Tristan Wilds, Sophie Okonedo and Jennifer Hudson.

Thanks to our friends over at Concrete Loop
“

It also broke the record for most money made from Friday midnight shows by raking in $18.5 million. (Star Wars: Episode III — Revenge of the Sith brought in $16.9 million.)

And to complete the hat trick it broke the three-day opening weekend record with $155.3 million in ticket sales from Friday to Sunday. (Spider-Man III made $151.1 million.)

The number 2 spot was taken by Mamma Mia!, $27.6 million.

With such big openings, the other movies playing didn’t get as much attention.
3. Hancock – $14 million
4. Journey to the Center of the Earth – $11.9 million
5. Hellboy II: The Golden Army – $10 million

My ex-husband used to live in Baldwin Hills in southwest Los Angeles.

Or either he just used to go to the mall there — I don’t know. There’s a reason he’s my ex.

When I first saw preview video clips of the new reality TV show called Baldwin Hills, I knew it would be interesting.

Then I check popular search terms today and see that everybody and their mama is searching for info about Baldwin Hills online.

So BET has done pretty good by putting nearly full episodes of Baldwin Hill online to watch — just click the “more” link on their site beneath each episodes and let each segment play past the “want more” interruption and “play again” prompt. They’ll continue till you’ve nearly seen the full episode.

Plus they’ve got information about the Baldwin Hills cast, message boards where people can gripe about Baldwin Hills, a Baldwin Hills episode guide, a little backstory about the “Golden Ghetto,” and a bit more about the Baldwin Hills show.

I, for one, always wanted to live in a place like this: somewhere with a good number of well-to-do black people that is still racially integrated and diverse.

Is this where Johnny Cochran lived? Or Cheviot Hills? Is that the same place?

I remember seeing a 20/20 special or other news magazine program showing Cochran pulling his Jaguar into the garage, and they mentioned he lived in an exclusive, nearly all-black neighborhood — and I’ve been curious ever since.

Does a neighborhood like this exist in Ohio?

Either way, watching Baldwin Hills is refreshing. It’s great to see blacks doing well and speaking well and living well with varied interests, not all painted with the same hip-hop stroke.

There’s been a bit of a dust-up, as the Brits say, between Spike Lee and Clint Eastwood lately, largely fomented by the Guardian (a left-leaning English daily). Among the highlights, if you want to call them that, are Eastwood suggesting that Lee should “shut his face” and Lee retorting, “The man is not my father and we’re not on a plantation.” The whole thing is unfortunate for all kinds of reasons, not least because it involves a British paper gleefully stirring up a racially tinged dispute between two contentious Yanks, right in the middle of our so-called season of racial reconciliation. Also because Lee and Eastwood, despite their differing backgrounds and political inclinations, are far more similar than different as old-fashioned filmmakers and storytellers.

The purported issue is of course a black-white thing, specifically the absence of any black-white thing from Eastwood’s Iwo Jima double bill, “Flags of Our Fathers” and “Letters From Iwo Jima,” which depicted no African-American soldiers (although several thousand apparently took part in the actual battle). The two directors crossed paths — figuratively, not literally — in Cannes, where Lee was promoting his new “Miracle at Santa Anna” (for sale in the Cannes market) and Eastwood had “The Exchange” (aka “Changeling”) in competition. Lee’s film is about an all-black U.S. Army division that fought valiantly in the Italian campaign during World War II, and since he’s never averse to controversy, it was easy to draw provocative sound bites from him about the all-white military units shown in Eastwood’s pictures.

“Clint Eastwood made two films about Iwo Jima that ran for more than four hours total, and there was not one Negro actor on the screen,” Lee said. “If you reporters had any balls you’d ask him why.”

So the Guardian’s Paul Lewis did ask Eastwood, who was relatively restrained (at first) in his response, pointing out reasonably that “Flags of Our Fathers” was about the famous flag-raising photo on Iwo Jima, in which African-American troops were not involved. (Possibly, some historians suggest, because they were not wanted.) “I’m playing it the way I read it historically, and that’s the way it is,” said Eastwood. “When I do a movie and it’s 90 percent black, like ‘Bird’ [his 1988 film about jazz legend Charlie Parker], then I use 90 percent black people.” He acridly observed that in “The Human Factor,” his upcoming film set in post-apartheid South Africa, he’s “not going to make Nelson Mandela a white guy.”

This may be impossibly liberal of me, but I’m going to suggest that they’re both right, and that both of them need to tone down the grump-o-meter. Eastwood has no responsibility to practice affirmative action in a World War II movie, but the omission was unfortunate and perhaps telling. No one who has followed Clint Eastwood’s life and career can seriously contend that he’s a racist (and, in fairness, Lee didn’t say he was). He is, however, something close to a radical libertarian. As inscrutable as Eastwood can be about any intellectual dimension to his filmmaking, the subject he returns to over and over again is the conflict between individuals and the debased, bureaucratic and corrupt society that oppresses them. He’s not much interested in collective societal or racial issues, and certainly isn’t going to go looking for them under the rocks of the screenplays he takes on.

Lee, on the other hand, is a left-wing moralist, always striving (perhaps too eagerly) to preach a social gospel under the guise of mainstream entertainment. But despite their obvious dissimilarities, the West Coast Anglo and the East Coast African-American — viewed strictly as film directors — are far more alike than they seem. Each is a skillful craftsman with a hit-and-miss career marked by startling flashes of inspiration. Both are clearly shaped more by the traditions of old-school Hollywood storytelling than by post-’70s cinema; they’re closer to the heightened-realism mode of John Ford, Howard Hawks and William Wyler than they are to Martin Scorsese or the Coen brothers.

Their masterpieces are distinctive: Of course Eastwood could not have made “Do the Right Thing,” and Lee could not have made “Unforgiven.” But among their more workmanlike films, there’s a whole bunch of potential crossover. Lee could have directed an interesting and arguably better alternative to “Bird” (Eastwood seems to believe that Lee still harbors a grudge that he didn’t). But he’d also have done a perfectly respectable job with more generic Eastwood fare, like “White Hunter Black Heart” or “A Perfect World.” “Mystic River” and “Million Dollar Baby” would make terrific Spike Lee films. If we could cram them both into the way-back machine and have, say, the 1993 version of Spike direct the 1983 version of Clint in “Sudden Impact,” the fourth and final Dirty Harry film — well, damn, I’d pay to see that.

On the other side of the coin, Lee’s “Inside Man,” “25th Hour” and “Clockers” feel like potential Eastwood genre pictures all the way. (“Clockers” might be better as an Eastwood movie, but “25th Hour” not quite as good.) Eastwood’s versions of “He Got Game,” “Summer of Sam” and “Jungle Fever” would be totally different from Lee’s, but they might be preferable in many respects. And as long as we’re playing fantasy-film football, I’d be delighted to give Lee his opportunity to go back in history and make “Bird” — as long as Eastwood gets to make “Malcolm X.” I mean, come on. That’s a great idea, and I won’t let anybody deny it.

And now that both of these esteemed American directors have allowed themselves to be lured into a Limey-sponsored pissing match, maybe they’ll hang it up and get back to what they actually do for a living. Both of them have long been known to shoot first and reflect on it later, and right after launching his “plantation” comment at Eastwood, Lee said simply, “He’s a great director. He makes his films, I make my films.”

? Andrew O’Hehir

Sex and the City’ topped the box office this weekend, making $55.7 million and pushing blockbuster ‘Indiana Jones and the Kingdom of the Crystal Skull,’ into second place, studio estimates showed.

The long-awaited Warner Bros. romantic comedy beat predictions by at least $30 million and studio estimates said theater audiences were comprised of about 85 percent women.

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Watch the Kung Fu Panda movie trailer here at HollywoodTeen.net. We ant to know what you guys think of the movie and are you looking forward to seeing it.

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How She Move is an energetic, gritty and ultimately inspiring coming of age tale about a gifted young woman who defies all the rules as she step dances her heart out to achieve her dreams. Featuring a fresh cast of new discoveries, this Sundance Film Festival hit marks the feature film debut of the electric RUTINA WESLEY, with street-style step sequences by top choreographer Hi Hat and special appearances by R&B singer-songwriter Keyshia Cole and comedian DeRay Davis. –© Paramount Vantage.

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