(Entertainment Weekly) -- "Whip It!" suggests what might have happened if Juno had gone to a high school as poky as Napoleon Dynamite's and decided that although her mother wanted her to be a beauty queen like Little Miss Sunshine, she'd rather just strap on roller skates. Ellen Page plays roller derby competitor Babe Ruthless in "Whip It!" Only here the petite, droll, feisty, Ellen Page-like heroine played by Ellen Page is named Bliss. And her idea of sass while chatting up a cute rocker (Landon Pigg) in this desexualized, slow-speed grrrl-power sports fantasy is "I'm Bliss, but I could change that." Bliss does change her name, at least at the Roller Derby rink. She sneaks away from her square parents (Marcia Gay Harden as the U.S. Postal Service's least likely mail carrier and Daniel Stern as a nice schlub who likes beer) to roll with a sisterly Austin team who call themselves the Hurl Scouts. There, she dubs herself Babe Ruthless, making up in speed what she lacks in muscled aggression. She's heck on wheels, or so we are asked to believe: The rink footage is pretty un-whippy. Even Juliette Lewis, playing the film's designated bad girl and Bliss/Babe's nemesis on the rink, is more of a cute bee-yotch than a real threat. The movie is Drew Barrymore's directorial debut (she also plays fellow Hurl Scout Smashley Simpson), and it's clear she's more attuned to grrrlishness than real athletic power: Smashley is the first to scream ''Food fight!'' and the 34-year-old actress leads the charge in kidlike mayhem. EW Grade: C+ CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: Drew Barrymore's directorial debut starts with what?

Question: Who plays a women who signs up for roller derby?

Question: What marks Barrymore's directorial debut?

Question: What role is Ellen Page playing ?

Question: Who does Ellen Page play?

Question: What was Drew Barrymore's directorial debut ?

Question: What is the film leaning towards ?

Answer: The movie

Answer: Ellen Page

Answer: The movie

Answer: roller derby competitor Babe Ruthless

Answer: roller derby competitor Babe Ruthless in "Whip It!"

Answer: "Whip It!"

Answer: grrrlishness

Summary:
"Whip It!" marks Drew Barrymore's directorial debut .
Ellen Page plays woman who signs up for roller derby .
Film leans towards softness, which hurts impact of roller derby .


(Entertainment Weekly) -- Actor Jude Law is expecting his fourth child, his spokesperson said. Actor Jude Law's publicist confirmed he is expecting his fourth child. In a statement released to Entertainment Weekly and EW.com, the single actor confirmed that he will once again become a father. "Jude Law can confirm that, following a relationship last year, he has been advised that he is to be the father of a child due in the fall of this year," the statement said. "Mr. Law is no longer in a relationship with the individual concerned but he intends to be a fully supportive part of the child's life. This is an entirely private matter and no other statements will be made." The statement was released exclusively to Entertainment Weekly, whose site broke the story on Wednesday. Law, 36, has three children with ex-wife Sadie Frost. The handsome British actor known for appearing in movies such as "Cold Mountain" and "The Talented Mr. Ripley" and headlines a few years ago after an alleged fling with his children's caregiver and a broken engagement with actress Sienna Miller. He is scheduled to appear in "Hamlet" on Broadway in October and will star opposite Robert Downey Jr. in the movie "Sherlock Holmes" slated to open Christmas Day. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: What will happen to Jude law in the fall?

Question: What did entertainment weekly say?

Question: When is he expecting his next child?

Question: How many children has Jude Law?

Question: What did Jude Law's spokesperson say?

Question: Which did Law not reveal?

Question: Who broke the news?

Answer: expecting his fourth child,

Answer: Jude Law is expecting his fourth child,

Answer: fall of this year,"

Answer: expecting his fourth child,

Answer: expecting his fourth child,

Answer: individual concerned

Answer: Entertainment Weekly,

Summary:
Jude Law's spokesperson says he will become a dad again in the fall .
Entertainment Weekly broke the news the actor is expecting his fourth child .
Law, who is divorced, did not reveal the identity of the mother .


(Entertainment Weekly) -- After all the anticipation and hubbub, the weekend is coming to an end and the box office results are here: "Watchmen" (No. 1) grossed $55.7 million during its first frame, according to early estimates from Media by Numbers.

"Watchmen" led the weekend box office, grossing $55.7 million during its first weekend.

That's a solid sum, to be sure, although it's certainly on the low end of most projections. "Watchmen" premiered in more theaters (3,611) than any other R-rated movie in history, and it averaged an impressive $15,413 per venue, despite a potentially problematic long running time.

It also scored the biggest debut of 2009 so far. Nonetheless, the movie's $55.7 million take (including $5.5 million from 124 IMAX screens) is substantially smaller than the $70.9 million that 300, the last R-rated graphic-novel movie from director Zack Snyder, earned on its opening weekend two years ago.

And aside from that theater-count statistic (which almost any film could break at any time, really), there will be no major records to report on this weekend (for example, "Watchmen's" debut was just the fifth-best opening ever for an R-rated movie).

I'd argue, in fact, that this opening is a bit soft, considering the great expectations that came with Snyder's adaptation of Alan Moore's landmark comic book -- not to mention "Watchmen's" hefty grosses from screenings at midnight on Friday and throughout its first day. After attracting some major initial interest, banking $25.1 million on Friday, the film's audience dropped off dramatically during the weekend: It grossed $19 million on Saturday and is expected to bring in just $11.5 million on Sunday.

These are all big numbers, don't get me wrong, but, when combined with the fact that the film got a lukewarm CinemaScore grade of B from an audience that was largely comprised of older men, it all points to a rapid downward trend that may be difficult to reverse in the weeks to come.

Elsewhere -- yes, there were other movies playing at the multiplex this weekend! -- a number of films continued to do what "Watchmen" must now aspire to, perhaps in vain: They stayed strong deep into their long runs.

Tyler Perry's "Madea Goes to Jail" (No. 2) grossed $8.8 million on its third weekend; the film, Perry's biggest yet at the box office, has banked $76.5 million to date.

"Taken" (No. 3) also moved along like the unstoppable force it has been for more than a month now, earning $7.5 million and bringing its six-week sum to $118 million.

Best Picture winner "Slumdog Millionaire" (No. 4) was next with $6.9 million, which boosted its domestic haul to $125.4 million. And "Paul Blart: Mall Cop" (No. 5) took its eight-week total to $133.6 million thanks to another $4.2 million gross. iReport.com: What did you think of 'Watchmen'?

Meanwhile, "Jonas Brothers: The 3D Concert Experience" (No. 9) completely fell off the map, dropping a staggering 78 percent to gross just $2.8 million. According to Box Office Mojo, that's the 15th biggest second-weekend decline of all time.

Overall, the cumulative box office was up nearly 8 percent over the same frame a year ago, when 10,000 B.C. opened big, making this the fifth consecutive "up" weekend at the multiplex. So, all in all, I'd say today's was a good report, indeed.

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Question: What was the Best Picture winner?

Question: What was the amount it grossed?

Question: What was the gross for Tyler Perry's "Madea Goes to Jail" (No. 2)?

Question: What premiered in more theaters than any other R-rated movie in history?

Question: What was the movie rated?

Question: Which slot the "Slumdog Millionaire" take?

Question: What did Madea Goes to Jail gross?

Question: What did Watchmen do?

Question: What was slumdog millionaire?

Answer: "Slumdog Millionaire"

Answer: $55.7 million

Answer: $8.8 million

Answer: "Watchmen"

Answer: R-rated

Answer: (No. 4)

Answer: $8.8 million

Answer: grossed $55.7 million during its first frame,

Answer: Best Picture winner "Slumdog Millionaire"

Summary:
"Watchmen" premiered in more theaters than any other R-rated movie in history .
Tyler Perry's "Madea Goes to Jail" (No. 2) grossed another $8.8 million .
Best Picture winner "Slumdog Millionaire" took the No. 4 slot with $6.9 million .


(Entertainment Weekly) -- Dan Brown's "The Da Vinci Code" has spawned a raft of imitators, most of which pale in comparison; the latest, "The Lost Symbol," is by Brown himself. Dan Brown's "The Lost Symbol" is his first novel since the blockbuster "The Da Vinci Code" in 2003. Once again, Harvard symbologist Robert Langdon is summoned to the scene of a gruesome attack, joins forces with an attractive and erudite love interest, and speeds around a world capital chasing clues, solving puzzles, and risking his life while dropping cocktail parties' worth of scholarly minutiae. Even the setting, though new, will be familiar to most readers: Washington, D.C. This time, Langdon is lured to the Capitol to save his mentor, Peter Solomon, a prominent member of the Freemasons who's been kidnapped by a cryptic, heavily tattooed, Homer-reading psycho calling himself Mal'akh -- a vicious fellow even less plausible than the albino monk in "The Da Vinci Code." Our hero is also in possession of an ancient Masonic artifact whose clues lead him on a treasure hunt to various D.C. tourist spots as he searches for a secret long hidden by the brotherhood.  Watch the frenzy surrounding "The Lost Symbol" » That secret, of course, is one giant MacGuffin -- though Brown is the rare thriller writer who seems to lavish as much attention on the object that sets his plot in motion as he does on the action itself. But for thriller fans, it's the chase that really matters. Especially since the secrets of Freemasonry just aren't as compelling as, say, a controversial theory about Mary Magdalene and Jesus. Luckily, Langdon remains a terrific hero, a bookish intellectual who's cool in a crisis and quick on his feet, like Ken Jennings with a shot of adrenaline. The codes are intriguing, the settings present often-seen locales in a fresh light, and Brown mostly manages to keep the pages turning -- except when one of his know-it-all characters decides to brake the action for another superfluous, if occasionally interesting, historical digression. (Did you know there's a carving of Darth Vader on the National Cathedral?) Even after the book's climactic showdown, you must slog through another 50-plus pages of exposition that Brown couldn't cram into the main narrative. Sometimes it seems that authors, like their villains, don't know when to leave well enough alone. EW Grade: C+ CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: what is borwns new novel

Question: who wrote novel da vinci code

Question: According to EW it doesn't equal his previous novel entitled what?

Question: Dan Brown's new novel is called what?

Question: who is dan brown

Answer: "The Lost Symbol,"

Answer: Dan Brown's

Answer: "The Da Vinci Code"

Answer: "The Lost Symbol,"

Answer: rare thriller writer

Summary:
EW: Dan Brown's new novel, "The Lost Symbol," doesn't equal "Da Vinci Code"
Book concerns the death of a Freemason that puts Robert Langdon back in action .
Brown offers plenty of minutiae, but not all of it's interesting .


(Entertainment Weekly) -- England doesn't yet swing in the transporting, ruefully tender coming-of-age drama "An Education." Carey Mulligan and Peter Sarsgaard star as a couple in "An Education." It's 1961, and Jenny (Carey Mulligan), a bright 16-year-old schoolgirl in a tidy London suburb, nurtures aspirations of sophistication that involve smoking cigarettes and dreaming of the day she can sit in a Paris cafe. Beatles-era grooviness and sexual liberation haven't yet reached this corner of the Empire, where cautious, 1950s-style postwar provincialism still prevails -- the same squareness the gents across the pond in "Mad Men" are just beginning to bend. Jenny's dad (Alfred Molina) is fearful and fussy; Mum (Cara Seymour) is resigned. So the good student studies her Latin, grinding for admisson into Oxford University. Life lessons don't begin until she meets David (Peter Sarsgaard), who's in his early 30s, and Jewish, and suave. He's so charmant, he even dazzles Mum and Dad. Being included in David's exotic, if mysteriously shady, universe -- the travel, the jazz clubs that hint at wider horizons, and, oh yes, the sex -- is like a crash course in worldliness. And as this picture of times that were a-changin' demonstrates with quiet, though conventionally built, artistry, worldliness has its discontents. "An Education" is the vivid story of how one girl became a woman -- and how Olde England morphed into the youthquake center of '60s yeah yeah yeah. None of which would be quite so vivid without the beguiling performance of newcomer Mulligan. She's very much an It Girl, with her natural elegance in a brunet upsweep à la Audrey Hepburn. And she's protectively partnered by Sarsgaard in the tricky job of playing sweet yet suspect, a balance he sustains with nonchalance. Equally important players: Dominic Cooper and the divine Rosamund Pike as David's ever-so-knowing pals, Olivia Williams as a teacher who hates to see her prize pupil make poor choices, and Emma Thompson, steaming forth like a battleship as Jenny's headmistress. The movie, in a palette of cloudy blues, is adapted from a vivid memoir by British journalist Lynn Barber and directed by gifted Danish filmmaker Lone Scherfig from a screenplay of economical empathy by "High Fidelity" novelist Nick Hornby. Afterward, you'll want to listen to the Beatles sing "She's Leaving Home." It might be a girl like Jenny the lads had in mind. EW Grade: A-minus CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
What year did the film take place?
WHo else was in the film?
What film was Carey in?
Who gave a good perfomance?

Answer: 1961,

Answer: Peter Sarsgaard

Answer: "An Education."

Answer: Carey Mulligan

Summary:
Carey Mulligan does fine job as teen seeking greener pastures in "An Education"
Film is about a girl in 1961 Britain who starts dating 30-something man .
Good performances all around, especially from Peter Sarsgaard, Emma Thompson .


(Entertainment Weekly) -- For many, the creative relevance of 3-D cinema remains very much an open question. But when the history of Hollywood's 21st century embrace of 3-D is written, it very well may point to this weekend as the moment when the format definitively established its commercial power at the box office. "The Final Destination" scared up by far the most box office receipts, banking $28.3 million. Despite a moviegoing weekend dominated with R-rated violent thriller-type films ostensibly shooting for the same audience, "The Final Destination" scared up by far the most box office receipts, banking $28.3 million for an easy No. 1 berth, according to early estimates from Hollywood.com Box Office. That's almost $10 million better than the opening frame for the last film in the creatively-dispatching-model-perfect-unknown-actors franchise (which, for those keeping track, was "Final Destination 3"). There's really only one reason why: Although just over half its 3,121 theaters were screening the flick in 3-D, fully 70 percent of its box office take was from 3-D theaters, which typically charge an extra few bucks per ticket for the privilege of watching the film with those comfy stereoscopic glasses. Rest assured, despite its title (and its abysmal "C" Cinemascore grade), this is by no means the final "Final Destination" movie. The folks at the The Weinstein Company, meanwhile, continue to enjoy good news for their much scrutinized bottom line: Quentin Tarantino's "Inglourious Basterds" landed at No. 2 with a rather spectacular $20 million, just 47 percent down from its opening weekend for $73.7 million total. TWC's sister company Dimension Films, meanwhile, saw its "Halloween II" debut at third with a nothing-to-sneeze-at $17.4 million. Granted, director Rob Zombie's second re-imagining of the 31-years-old slasher franchise made nothing close to the $30.6 million Labor Day weekend debut of Zombie's first night out with Michael Myers. But given the steep competition, and the film's $15 million budget, Dimension must be breathing a sigh of relief that their film will most likely see a decent profit. The box office love continued through much of the weekend's top 10: District 9 dropped just 41 percent with $10.7 million, strong enough to hold on at fourth place and, with a $90.8 mil running total, well on its way to joining the $100 million club. At number five, "G.I. Joe: The Rise of Cobra" banged out $8 million, a 34 percent drop and $132 million total. And Julie & Julia savored a tiny 16 percent drop for sixth, with $7.4 million in its forth weekend for $70.9 million total. In fact, the only true disappointment for the weekend was Focus Features' "Taking Woodstock." Director Ang Lee's trip back to the iconic three-day concert debuted at ninth with just $3.7 million, doubly disappointing since it opened wide in 1,393 theaters (after a Wednesday opening in New York and Los Angeles), with a feeble $2,691 per theater average. By contrast, two limited release debuts did rather well: Vogue magazine documentary "The September Issue" bowed on six screens with a very fashionable $40,000 per theater average; and the extreme-sports-fandom-gone-wrong dramedy "Big Fan" won $13,000 per theater on two screens. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: Which film landed at number two?

Question: What movie was at number two?

Question: What other films made the box office?

Question: How much did "The Final Destination" make?

Question: How much money did G.I. Joe: The Rise of Cobra bank during the weekend?

Question: When did the film debut?

Question: How much did The Final Destination bank during its debut weekend?

Answer: "Inglourious Basterds"

Answer: Quentin Tarantino's "Inglourious Basterds"

Answer: "The Final Destination"

Answer: $28.3 million.

Answer: $8 million,

Answer: Labor Day weekend

Answer: $28.3 million.

Summary:
Horror flick "The Final Destination" banked $28.3 million during its debut weekend .
Quentin Tarantino's "Inglourious Basterds" landed at No. 2 with $20 million .
At number five, "G.I. Joe: The Rise of Cobra" banged out $8 million .
Check out which other flicks made this weekend's top 10 at the box office .


(Entertainment Weekly) -- Fueled by a hefty dose of tweener love, Zac Efron's "17 Again" won this weekend's box office sweepstakes without breaking a sweat. Zac Efron stars in "17 Again," which debuted in the No. 1 slot at the box office. The high school time-warp comedy, which costars Matthew Perry and Leslie Mann, earned $24.1 million, according to studio estimates from the box office tracking firm Nielsen EDI. The film's haul marked another No. 1 debut for Efron, who helped boost ticket sales with an appearance this weekend on Saturday Night Live. In 2007, the musical "Hairspray," which co-starred Efron, opened first at $27.5 million. Last year, Efron's "High School Musical 3: Senior Year" bowed with $42 million, and while "17 Again" may have fallen short of that mark, it still represents an auspicious maiden voyage for Efron's post-Disney career. Despite the raft of critics who pooh-poohed the film, which received a 61 percent fresh rating on Rottentomatoes.com, audiences were more favorably inclined, giving it a strong A- CinemaScore. Landing at No. 2, the Russell Crowe-Ben Affleck thriller "State of Play" pulled in $14.1 million. The film, which garnered generally positive reviews, is the latest of a string of adult-oriented dramas to lag at the box office, although its final tally actually came in somewhat higher than anticipated and was an improvement over the $12.9 million opening for Crowe's last outing, last fall's "Body of Lies." While "17 Again" mopped up moviegoers on the younger end of the age spectrum, a whopping 75 percent of "State of Play's" audience was over 35. Holding steady at No. 3 for the second week in a row, "Monsters vs. Aliens" took in another $12.9 million. The film's impressive performance in its fourth weekend brings the grand total for the animated kiddie flick to $162 million the highest this year by a wide margin. "Hannah Montana: The Movie" dropped 61 percent from its opening last weekend, but the Miley Cyrus starrer still proved strong enough for the No. 4 spot with $12.7 million, boosting its cumulative gross to $56.2 million. Rounding out the top five, "Fast & Furious" still had plenty of gas in the tank, earning $12.3 million in its third weekend for an overall cume of $136.7 million. The same, however, can't be said for the Jason Statham action flick "Crank High Voltage," which sputtered into a distant sixth place with a decidedly low-voltage $6.5 million. Overall box office was up for the fourth straight weekend, surging 21 percent over this same weekend last year. Recession? What recession? CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: What is the name of the movie that Crowe starred in?

Question: What was the box office debut for "17 Again"?

Question: What were the box office earnings?

Question: Who stars in the movie?

Question: What movie debuted at No. 1?

Question: Which film was at number two?

Question: What film debuted at number one at the box office?

Question: How much money did "17 Again"pull in?

Question: What were the box office earnings of the film at the top of the charts?

Answer: "State of Play"

Answer: $24.1 million,

Answer: $12.3 million

Answer: Zac Efron

Answer: "17 Again,"

Answer: "State of Play"

Answer: "17 Again,"

Answer: $24.1 million,

Answer: $24.1

Summary:
"17 Again" debuted at No. 1 at the box office, pulling in an estimated $24.1 million .
The Russell Crowe-Ben Affleck thriller "State of Play" was No. 2 with $14.1 million .
Overall box office earnings were up for the fourth straight weekend .


(Entertainment Weekly) -- How are the elements of the charming, traditional romantic comedy "The Proposal" like the checklist of a charming, traditional bride? Let me count the ways ... Ryan Reynolds wonders if marrying his boss, Sandra Bullock, is a good thing in "The Proposal." Something old: The story of a haughty woman and an exasperated man who hate each other -- until they realize they love each other -- is proudly square, in the tradition of rom-coms from the 1940s and '50s. Or is it straight out of Shakespeare's 1590s? Sandra Bullock is the shrew, Margaret, a pitiless, high-powered New York book editor first seen multitasking in the midst of her aerobic workout (thus you know she needs to get ... loved). Ryan Reynolds is Andrew, her put-upon foil of an executive assistant, a younger man who accepts abuse as a media-industry hazing ritual. And there the two would remain, locked in mutual disdain, except for Margaret's fatal flaw -- she's Canadian. (So is "X-Men's" Wolverine; I thought our neighbors to the north were supposed to be nice.) Margaret, with her visa expired, faces deportation and makes the snap executive decision to marry Andrew in a green-card wedding. It's an offer the underling can't refuse if he wants to keep his job. (A sexual-harassment lawsuit would ruin the movie's mood.) OK, he says. But first comes a visit to the groom-to-be's family in Alaska. Amusing complications ensue. Something new: The chemical energy between Bullock and Reynolds is fresh and irresistible. In her mid-40s, Bullock has finessed her dewy America's Sweetheart comedy skills to a mature, pearly texture; she's lovable both as an uptight careerist in a pencil skirt and stilettos, and as a lonely lady in a flapping plaid bathrobe. Reynolds, meanwhile, is just refining his dry comedy thing, learning to get the most from his deceptive cute-face looks. Who knew these two would, hmmm, complete each other? Working together, both are surer and more disciplined in delivering their comedy goods. iReport.com: "Proposal" has "plenty of laughs" Something borrowed: The boisterous family dynamics. The eccentric supporting players (none more extreme than Oscar Nunez from "The Office"). The snappy screwball dialogue in Pete Chiarelli's script. And the way Anne Fletcher directs like a camp counselor wrangling bunkmates ... it's all been seen before. For a reason. These elements work. Something blue: As the wise and saucy matriarch of the family, the divine 87-year-old Betty White has fun as one hot grandma -- and inspires her younger stars to say "I do," too. EW Grade: B+ CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
EW: "The Proposal" is a top-notch what?
What is a top-notch romantic comedy?
What does the movie adhere to?
The movie adheres to what?

Answer: romantic comedy

Answer: "The Proposal"

Answer: the charming, traditional romantic comedy

Answer: traditional romantic comedy

Summary:
EW: "The Proposal" is a top-notch romantic comedy .
Movie adheres to formula, but it's well done, very funny .
Casting is perfect, script delivers .


(Entertainment Weekly) -- If anybody had a reason to doubt whether Tyler Perry has become one of the most bankable brands in all of movies, be skeptical no longer.

The domestic dramedy maestro's latest release, Tyler Perry's "Madea Goes to Jail," ran away with a big victory on the typically slow Academy Awards weekend, grossing a hefty $41.1 million, according to early estimates from Media by Numbers.

That opening sum is the biggest of all time for a Tyler Perry film, besting the $30 million debut of 2006's "Madea's Family Reunion." Too, it's the top bow in the history of indie studio Lionsgate, improving upon all the Tyler Perry and "Saw" flicks that came before it. The movie's per-theater average of $20,236 ranks in the top 40 for all wide openers ever.

And, no surprise, "Madea Goes to Jail" achieved all this success with a solid A CinemaScore grade from a crowd that included mostly older women.  Watch Tyler Perry talk about his success »

Second place went to "Taken," which added another $11.4 million to its four-week tally, bringing said total to $95.2 million. Fellow strong holdover "Coraline" (No. 3) was next with $11 million.

"He's Just Not That Into You" (No. 4) declined a sharp 56 percent to bank $8.5 million on its third weekend. And Best Picture favorite "Slumdog Millionaire" rounded out the top five with $8.1 million -- a sum that brings its domestic total to $98 million.

Reigning champ "Friday the 13th" suffered one of the biggest drops ever, a stunning 81 percent, to finish in sixth place with $7.8 million. And this weekend's other major new release, the cheerleader comedy "Fired Up!" (No. 9), grossed a weak-but-expected $6 million. The film garnered an okay CinemaScore grade of B from a crowd comprised of mostly younger ladies.

Overall, the weekend was up nearly 30 percent over the same frame a year ago, when "Vantage Point" led the way. Eight of the past nine weekends have improved upon the previous year's grosses.

And I'd be remiss if I didn't take a quick peek at the main Oscar contenders, for whom the box office report is mixed headed into the ceremony.

"The Curious Case of Benjamin Button" leads the way with $124.2 million. The aforementioned "Slumdog Millionaire" should clear the $100 million mark in the next several days, whether it wins the top prize or not. Then it's a big jump down to "Milk" ($28.2 million), "The Reader" ($23.2 million), and "Frost/Nixon" ($17.4 million).

And let's not forget multiple nominee "The Dark Knight," which may not be up for Best Picture, but did finally become the fourth movie ever to cross the $1 billion mark at the worldwide box office.

CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
what was the per-theater average
what won big this weekend
who won second place
what is in the top 40?

Answer: $20,236

Answer: "Madea Goes to Jail,"

Answer: "Taken,"

Answer: The movie's per-theater average

Summary:
"Madea Goes to Jail" won big this weekend, grossing a hefty $41.1 million .
Per-theater average of $20,236 ranks in the top 40 for all wide openers ever .
Second place went to "Taken," which added another $11.4 million to its tally .


(Entertainment Weekly) -- If you're interested in actor Marlee Matlin, you'll want two questions answered before deciding whether to read her memoir, "I'll Scream Later": Actress Marlee Matlin appears on CNN's "Larry King Live" to talk about her sexual abuse. 1. What does she say about her relationship with William Hurt, her former lover and costar in "Children of a Lesser God," for which Matlin won a Golden Globe and an Oscar in 1987? 2. Why does she want to scream? The answer to the first is easy: Yes, yes, good Lord, yes, Matlin can't stop talking about Hurt and their passionate, turbulent, at times violent relationship. For instance, "We made amazing, mind-blowing love. And we fought." Good to know. And also, "No matter what triggered our fights, they were made far worse by his drinking and my drug use." Got it. Mr. Hurt no doubt sends his regards. The answer to the second is more complicated -- something to do with Matlin's being deaf in a hearing world, and being headstrong and wild, and receiving news of her Oscar nomination while dealing with drug addiction (at the age of 21) at the Betty Ford Center. This memoir, dutifully wrestled into order by L.A. Times film critic Betsy Sharkey, is more ramble than holler, but Matlin clearly enjoys making some noise. EW Grade: C+ CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
What does the memoir say plenty about?
Who does she talk about in the book?
What was the memoir called?
What is Marlee Matlin's memoirs called?
What did EW give it?
What grade did the book get?

Answer: Hurt and their passionate, turbulent, at times violent relationship.

Answer: her relationship with William Hurt,

Answer: "I'll Scream Later":

Answer: "I'll Scream Later":

Answer: C+

Answer: C+

Summary:
Marlee Matlin's memoir "I'll Scream Later" says plenty about William Hurt .
Book more muddied when it comes to why she wants to scream .
For a ramble, it isn't bad, but EW gives it a C-plus .


(Entertainment Weekly) -- In "Marley & Me," it doesn't take long to learn why Marley, an incorrigibly frisky golden Labrador retriever adopted by Florida newspaper writers John and Jenny Grogan (Owen Wilson and Jennifer Aniston), is the "world's worst dog." In "Marley & Me," Owen Wilson and Jennifer Aniston's characters welcome a dog into their lives. He's friendly and lovable, but he devours everything in sight -- drywall, socks, big chunks of furniture (no, he doesn't just chew on them, he eats them). As a dog owner, I can testify that "Marley & Me," based on the real John Grogan's smash 2005 memoir, is the single most endearing and authentic movie about the human-canine connection in decades. As directed by David Frankel ("The Devil Wears Prada"), though, it's also something more: a disarmingly enjoyable, wholehearted comic vision of the happy messiness of family life. John and Jenny share an existence that, from the standpoint of our current economic times, already looks like paradise. He's a reporter who gets refashioned, by his testy editor (Alan Arkin), into a lifestyle columnist (only to keep complaining about it -- poor guy!). She's a feature writer who becomes a stay-at-home mom. As the kids come along (three of them), the Grogans move into bigger and bigger houses, yet they have thwarted ambitions, fights that go on for days, and a general attitude of wistful loss toward all the freedoms they have given up to become parents. "Marley & Me" celebrates two ordinary people as they try to fit love, work, children, and one volcanically misbehaved pooch into a single space. Marley may be the dog from hell, but we're meant to see that the Grogans, in their hearts, wouldn't have it any other way. Marley stands in for all the unruliness that can never be domesticated out of life. You can domesticate Owen Wilson, but the shock is how good the role of beleaguered breadwinner looks on him. He and Aniston forge a nimble connection (they even get mad in style), and Wilson has a scene near the end with Marley that's the most wrenchingly tender acting of his career. Using his scratchy, lackadaisical warmth to voice a testament to family, and to where dogs fit into it, he makes you feel like it's a wonderful life indeed. EW Grade: A- CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
What is Marley & Me about?
Who stars in the film of Marley & Me?
Who is getting high marks?
Who stars in the film?
what is marley and me about
What is the film called
What is the comedy about?

Answer: frisky golden Labrador

Answer: (Owen Wilson and Jennifer Aniston),

Answer: "Marley & Me"

Answer: (Owen Wilson and Jennifer Aniston),

Answer: frisky golden Labrador retriever

Answer: "Marley & Me,"

Answer: two ordinary people as they try to fit love, work, children, and one volcanically misbehaved pooch into a single space.

Summary:
"Marley & Me" works as both comedy about dog and profile of family .
Owen Wilson and Jennifer Aniston star in film version of memoir .
High marks for Wilson, in particular, as newspaper columnist and dog owner .


(Entertainment Weekly) -- In a sound-bite sure to be re-watched in years to come by the eight kids Jon and Kate Gosselin have brought into the world, Jon Gosselin told Good Morning America, "I despise her." Jon Gosselin speaks out about his bitter break-up with his wife in a new television interview. Kate, said Jon, "beat me down... like a lame fish." Speaking to interviewer Chris Cuomo, Gosselin, always the less voluble of the couple and recently better known for pictures of his post-separation partying than his pithy statements, let loose. "Stop feeding into the frenzy," he responded when Cuomo asked if he had a message to Kate. Jon was referring to Kate's continuing public profile, such as her recent Larry King Live interview.  Watch Gosselin let loose on wife » Even Cuomo seemed taken aback by Jon's vehemence. When Jon used the word "despise," Cuomo warned him gently to be careful, that the "tit-for-tat" sniping might be harmful. Jon just piled on more. "Our relationship will never be fixed," he said flatly. Asked why he doesn't still wear his wedding ring, as Kate wears hers, he said, "She took my ring." When Cuomo looked skeptical, Jon said, "Who else would take it?" He added he'd looked under his kids' pillows for it, so I guess he considered them no longer suspects. Cuomo said the interview lasted three hours. Depending on your point of view the good news or the bad is that it's been edited down to just enough to fit in to tonight's one-hour ABC show "Primetime Family Secrets," at 10 p.m. ET. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: Who has been going through a bitter break-up?

Question: Who gave a television interview?

Question: What happens with Jon and Kate Gosselin?

Question: What has Jon and Kate Gosselin's break-up been like?

Question: What did Jon say about their relationship?

Question: What is the reality TV show called?

Question: What TV show did they do?

Answer: Jon Gosselin

Answer: Jon Gosselin

Answer: bitter break-up

Answer: bitter

Answer: "Our

Answer: "Primetime Family Secrets,"

Answer: "Primetime Family Secrets,"

Summary:
"Our relationship will never be fixed," Jon Gosselin says in a television interview .
Jon and Kate Gosselin have been going through a bitter break-up .
The pair star in the reality TV show "Jon & Kate Plus 8"


(Entertainment Weekly) -- In the enchantingly original and romantic (500) Days of Summer, Summer (Zooey Deschanel) is a girl -- capricious, alluring, and not entirely knowable -- and Tom (Joseph Gordon-Levitt) is the greeting-card writer who convinces himself that she's "better than the girl of my dreams." Joseph Gordon-Levitt and Zooey Deschanel fall in love -- for a time -- in "(500) Days of Summer." Five hundred days is the duration of their relationship, but the movie presents those days out of order, as an impish romantic flipbook, so that we keep skipping forward and back -- from, say, day 8 to day 154. Most romantic comedies have half a dozen situations at best: Meet Cute, Infatuation, Pop Song Montage, Contrived Mix-Up, Angry Breakup, and Final Clinch. "(500) Days of Summer" is about the many unclassifiable moments in between. Director Marc Webb, working from Scott Neustadter and Michael H. Weber's witty script, stages each scene as a vivid snapshot memory, and his sense of play is boundless. The film leaps in a heartbeat from the furtive glances (and shared fixation on the Smiths) that ignite an office love affair to a rooftop-party reconciliation that plays out, via split screen, in two simultaneous versions (how the hero wants it to be and how it happens) to a morning-after-the-first-sex saunter that evolves, with joyful hilarity, into a musical number scored to "You Make My Dreams." This has to be the first movie ever to give equal props to Morrissey and Hall & Oates. "(500) Days" is like a mood ring cued to the ups, downs, and confusions of modern love. It's a Gen-Y "Annie Hall" made by a new-style Wes Anderson who uses his cleverness for humanity instead of postmodern superiority. None of it would work, though, without such lived-in performances. Deschanel makes the lovely, sensuous Summer just precocious enough to know what she wants without coming out and saying it, and Gordon-Levitt, with his junior Springsteenian chin jut, lets you read every glimmer of hope, pain, lust, and befuddlement beneath his nervy facade. It's a feat of star acting, and it helps make "(500) Days" not just bitter or sweet but everything in between. EW Grade: A CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
What is the plot?
What is the name of the movie?
What is the film about?
Who acted in the film?

Answer: the duration of their relationship,

Answer: "(500) Days of Summer."

Answer: Joseph Gordon-Levitt and Zooey Deschanel fall in love

Answer: Joseph Gordon-Levitt and Zooey Deschanel

Summary:
"(500) Days of Summer" is absolutely wonderful, says EW .
Film is about an 18-month relationship, but avoids pitfalls of formula .
Joseph Gordon-Levitt and Zooey Deschanel are outstanding .


(Entertainment Weekly) -- In the first truly shocking box office result of the year, "Fast & Furious" sped away from expectations to gross a humongous $72.5 million, according to early estimates from Media by Numbers. Paul Walker stars in "Fast & Furious," which exceeded expectations after taking in $72.5 million. That result is effectively double what most industry observers had predicted for the debut of the fourth feature in Vin Diesel's car franchise, and it left in the dust a number of notable records: - Best April opening ever, beating "Anger Management's" $42.2 million. - Best Universal Pictures opening ever (three-day), beating "The Lost World: Jurassic Park's" $72.1 million. - Best F&F franchise opening ever, beating "2 Fast 2 Furious'" $50.5 million. - Best opening yet in 2009, easily beating the bows of the more-buzzed-about "Monsters vs. Aliens" ($59.3 million) and "Watchmen" ($55.2 million). - Best opening ever for stars Diesel, Paul Walker, Michelle Rodriguez, and Jordana Brewster, as well as for director Justin Lin. Oh, and let's not forget that it was the best opening ever for a car-themed movie! (Beating "Cars'" $60.1 million.) This outcome is impressive, indeed, something that has caught Hollywood by surprise and has the potential to really change things up -- like when summer-esque blockbusters are released (rarely does one open so early in the year) and like, you know, what everyone thinks of Vin Diesel. The film did it all on the strength of a solid A- CinemaScore review from an audience that was 57 percent male and 59 percent over age 25. Like the jaw-dropping early-year debuts of "The Passion of the Christ" and "300" before it, this is a history-making premiere that you may well be hearing about for a long time to come. So, yeah, I almost forgot to mention: "Fast & Furious" was the No. 1 movie at the box office this weekend. Coming in strong at No. 2 was "Monsters vs. Aliens," which dropped a respectable 44 percent to earn $33.5 million. In 10 days, the 3-D extravaganza has banked $105.7 million. "The Haunting in Connecticut" (No. 3 with $9.6 million), "Knowing" (No. 4 with $8.1 million), and "I Love You, Man" (No. 5 with $7.9 million) rounded out the top five. And the weekend's other big new release, "Adventureland," struggled with $6 million at No. 6. Overall, the box office was up a monstrous 68 percent from the same frame a year ago, when holdover 21 outplayed a number of weak new movies, none of which had Vin Diesel ... whom you're going to start hearing a lot about, once again. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: what is the best april opening ever

Question: What is the record that Fast &Furious break?

Question: what is the best opening ever for universal

Question: what percent was the box office up

Answer: "Fast & Furious,"

Answer: humongous $72.5 million,

Answer: "Fast & Furious"

Answer: 68

Summary:
"Fast & Furious" is best April opening ever, and best opening ever for Universal .
Also the best Fast & Furious franchise opening ever, previously $50.5 million .
Box office was up a monstrous 68 percent from the same frame a year ago .
Check out the box office top 10 chart .


(Entertainment Weekly) -- In what feels like a box-office weekend from "The Twilight Zone," a low-budget and critically acclaimed movie with no stars and an unknown director managed to top the charts. "District 9," the alien action pic produced by Peter Jackson, crushed the competition grossing $37 million. "District 9," the alien action pic produced by Peter Jackson and directed by the 29-year-old Neill Blomkamp ? who shot the film in Johannesburg, South Africa, of all places -- crushed the competition by grossing $37 million, according to early estimates. Audiences clearly enjoyed what they saw too: "District 9" has already soared to No. 78 on IMDb's top 250 movies list, although it'll obviously drop some as the initial euphoria wears off. Second place went to "G.I. Joe: The Rise of Cobra," which dropped 59 percent in its second weekend but still managed to recruit $22.5 million. The $175 million action movie should pass $100 million domestically by Monday. "The Time Traveler's Wife" materialized into third place with $19.2 million in its debut weekend, proving that there is a market for watching Eric Bana disappear. Rounding out the top 5 were "Julie & Julia" (No. 4 with $12.4 million) and "G-Force" (No. 5 with $6.9 million), respectively. Also opening wide was a trio of movies that failed to make a significant dent on the box office. "The Goods: Live Hard, Sell Hard," a cars-salesmen comedy starring Jeremy Piven, barely registered on the mercury thermometer by earning $5.4 million. "Ponyo," the 10th film by Japan's animation auteur Hayao Miyazaki, grossed $3.5 million on 927 screens. While that amount represents Miyazaki's best opening weekend in America, it's still fish feed compared to "Ponyo's" worldwide gross of $187 million. The music comedy "Bandslam" won't be getting any requests for encores after making only $2.3 million from more than 2,000 screens ? even the promise of seeing the "Taylor Lautner takes off his shirt" trailer of The "Twilight" Saga: New Moon couldn't save the Vanessa Hudgens movie. In limited release, the Jimmy Page/The Edge/Jack White music documentary "It Might Get Loud" opened promisingly, grossing $101,000 from just seven theaters. And "500 Days of Summer" continues to cement its title as "the indie breakout of the summer" by charming $3 million more from moviegoers, bringing its total to $18 million so far. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: What is district 9 about?

Question: What movie made third place?

Question: What is percentage that "G.I. Joe: The Rise of Cobra" dropped?

Question: How much did district 9 gross?

Question: Which movie is in third place?

Question: What movie dropped 59%?

Question: Which movie grossed $37 million?

Question: What movies made this week's top ten?

Answer: alien action

Answer: "The Time Traveler's

Answer: 59 percent

Answer: $37 million.

Answer: "The Time Traveler's

Answer: "G.I. Joe: The Rise of Cobra,"

Answer: "District 9,"

Answer: "District 9,"

Summary:
"District 9," the alien action pic, crushed the competition grossing $37 million .
"G.I. Joe: The Rise of Cobra" dropped 59 percent, bringing in $22.5 million .
"The Time Traveler's Wife" materialized into third place with $19.2 million .
Check out which other movies made this week's top ten list .


(Entertainment Weekly) -- In yet another blow to the already ailing soap opera world, Eric Braeden, the venerable star of CBS' "The Young and the Restless," has exited the top-rated daytime drama after a nasty negotiation with Sony. Eric Braeden's last episode as Victor Newman will air on November 2. The production company wanted the popular actor to take a pay cut for playing mega mogul Victor Newman, but Braeden -- who's been on the soap since 1980 -- opted to leave instead. Barring any last-minute change, Braeden's final episode will air on November 2. Reps for Sony and CBS had no comment, though one insider indicated that no further talks are planned. EW talked with Braeden, 68, about Sony's decision to exercise a draconian clause in his contract (his deal that was set to expire in November 2010 can still be renegotiated every 26 weeks) and what it means to the future of daytime dramas. EW: Where do things stand? Did your representative counter Sony's offer and you have yet to hear an answer? Eric Braeden: Precisely. EW: As of today, are you willing to take what Sony offered? Braeden: No. There is no appreciation of the fact that I've been an important part of the show for 27 years that has been No. 1 in the ratings. That's extraordinary. So to be dealt with in a perfunctory matter as if you had just known these people for a few months is what is most offensive. This is a certain corporate culture now that is very deleterious. EW: Is it true you offered to take a pay cut before? Braeden: I was the first one [to offer] because I knew that if we all did it, we would insure the continuation of the show. I did it two years ago when I signed my last contract, which I thought would last until next November. EW: Did you say your on-set goodbyes? Braeden: I said this could be a long goodbye, and I may not see you for a long time. Who knows? I'm not saying I've been let go -- we're still negotiating. But it feels like that. EW: What does this say about the state of the industry when a production company is asking the star of the No. 1 show in daytime to take a pay cut? Should everyone be worried? Braeden: Yes, though it depends on what the star does. All options are open right now. What can I tell you? I know there are certain economic realities that dictate the actions they are taking right now, but the manner in which its being done is most insulting. EW: You taped your last episode on September 23. Was that the way you wanted Victor to go? Braeden: No. It was rushed. It was obviously meant to intimidate. It was obviously done with enormous forethought to coincide with the end of the 26-week cycle. Essentially that is what the business is doing now and has been doing for a while. And quite frankly, it's outrageous. When I sign a three-year deal, I'm obligated to fulfill that deal. The producers, however, can come to me after a half-year and say, "We've changed our minds." Where in the world of business does this kind of contract exist? Do I blame the people for wanting to squeeze as much out of us as they can? I do not. The question is, when do you squeeze too much? EW: Would you do another daytime drama? Braeden: I doubt that. Never say never in this business or in life, but I doubt that. EW: Can you see the genre still existing in 10 years? Braeden: Yes I can. How many reality shows can you watch? They're so obviously phony. Our show deals with adult problems in a long continuous manner, and very much like the way things are dealt with in real life. In that sense

Question: Eric Braeden chose to do what, rather than taking a pay cut?

Question: When will Braeden's last episode air?

Question: How many years ago had Braeden taking a pay cut previously?

Question: When will the last episode air?

Question: Who is leaving the soap?

Question: What was the alternative?

Answer: leave

Answer: November 2.

Answer: two

Answer: November 2.

Answer: Eric Braeden,

Answer: to leave

Summary:
Eric Braeden opted to leave the daytime soap instead of taking a pay cut .
The actor said he'd taken a pay cut two years ago when renewing his contract .
Braeden: "There's no appreciation that I've been an important part of the show"
Braeden's last episode will air November 2 .


(Entertainment Weekly) -- It couldn't top its predecessors, but "X-Men Origins: Wolverine" still brought in quite a haul, grossing an estimated $87 million for the opening weekend of the summer movie season. Hugh Jackman stars as the title character in "X-Men Origins: Wolverine." The Hugh Jackman pic brought in a strong $21,225 per-theater average in 4,099 movie houses, despite generating mixed reviews. The film fell $15 million short of 2006's "X-Men: The Last Stand" but it is still an enormous success for Jackman and director Gavin Hood. Matthew McConaughey's "Ghosts of Girlfriends Past" generated an estimated $15.3 million for a second place bow. It's not a shabby opening but it is far less than McConaughey's previous romantic outings including last year's "Fool's Gold" ($21.6 million) or 2006's "Failure to Launch" ($24.2 million). (Perhaps women were too busy checking out all those hunky mutants this weekend?) The two new openers did help the industry maintain its year-over-year increase of 16 percent. Also aiding that statistic was Beyonce Knowles' "Obsessed." Dropping a not-surprising 57 percent for its second weekend in theaters, the thriller earned another $12.2 million to put its ten-day gross at a shockingly strong $47 million. And Zac Efron's "17 Again" showed surprising stamina, too, grossing an additional $6.3 million its third weekend for a total take of $48.4 million. The other new wide release for the weekend was the anemic 3-D animated sci-fi film "Battle for Terra." Opening on 1162 theaters, the Justin Long, Evan Rachel Wood-voiced feature proved to be little competition for the other 3-D movie in the marketplace. Dreamworks Animation's juggernaut "Monsters vs. Aliens" grossed another $5.8 million its sixth weekend for the fifth slot in the rankings, while newcomer "Terra" couldn't muster more than $1 million for a twelfth place in the box office derby. Summer has officially begun -- at least in Hollywood -- so expect a giant event film every weekend. Wolverine may have bowed mightily but with "Star Trek" hot on its heels next weekend, the Marvel superhero is going to need more than adamantium to maintain its box office lead. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: How much did "Ghosts of Girlfriends Past" gross?

Question: What movie takes the top slot at the box office?

Question: What movie took second place?

Question: How much is the top movie earning?

Question: Which movies came in second and third place?

Question: Who directed the movie "Wolverine"?

Question: How much did "Monsters vs. Aliens" earn?

Question: How much did Monsters vs. Aliens take at the box office?

Question: What took in and estimated $15.3 million?

Question: How much did Ghosts of Girlfriends Past take at the box office?

Question: How much did "Monsters vs. Aliens" gross?

Question: What did Wolvering take?

Question: Which film took in an estimated $15.3 million?

Question: How much did Wolverine take at the box office?

Answer: an estimated $15.3 million

Answer: "X-Men Origins: Wolverine"

Answer: "Ghosts of Girlfriends Past"

Answer: $87 million for the opening weekend

Answer: "Ghosts of Girlfriends Past"

Answer: Gavin Hood.

Answer: $5.8 million

Answer: another $5.8 million

Answer: "Ghosts of Girlfriends Past"

Answer: $15.3 million

Answer: $5.8 million

Answer: an estimated $87 million

Answer: "Ghosts of Girlfriends Past"

Answer: $87 million

Summary:
"Wolverine" takes the top slot at the box office, earning an estimated $87 million .
"Ghosts of Girlfriends Past" took in an estimated $15.3 million for second place .
Dreamworks Animation's "Monsters vs. Aliens" grossed another $5.8 million .
Check out the rest of the top 10 movies at the box office this weekend .


(Entertainment Weekly) -- It was a glass half-full, glass half-empty kind of weekend at the box office for "Funny People," writer-director Judd Apatow's comedic meditation on fame, humor, life, and death. Adam Sandler and Seth Rogen star in "Funny People," which took the No. 1 slot at the box office this weekend. According to figures from Hollywood.com Box Office, it opened at the top spot with an estimated $23.4 million, better than Apatow's The 40 Year-Old Virgin ($21.4 million) -- hence, the glass is half full. But that figure is far lower than the debut for Apatow's "Knocked Up" ($30.7 million), and it's the worst opening for a comedy for star Adam Sander since his 2000 turkey "Little Nicky" -- hence, the glass is half empty. Of course, "Funny People" was billed more as a thoughtful dramedy than a balls-out Sandler laugh-fest, and when matched against the opening frames for Sandler's serious efforts "Reign Over Me," "Spanglish," and "Punch-Drunk Love," Funny People is far and away the winner -- and the glass is half full again. But whether it's a comedy, drama, or dramedy, "Funny People's" $75 million budget is quite the handful of pretty pennies, and with a shaky "B-" Cinemascore, the film is going to have a hard time overcoming tepid word-of-mouth -- and we're back to the half-empty glass. So let's just move on, shall we? The cup of a certain adolescent wizard, meanwhile, definitely runneth over. Thanks to its debut on IMAX (and the premium ticket prices that come with it), "Harry Potter and the Half-Blood Prince" came in second with $17.7 million, a soft 40 percent drop from last weekend for $255.5 million total. At this rate, the film is well on its way to the upper ranks of the 'Potter' franchise. The guinea pigs of "G-Force" were right on its heels at third place, nibbling up $17.1 million, a decent 46 percent drop for a two-week cume of $66.5 million. And Katherine Heigl's romcom "The Ugly Truth" took in an additional $13 million, a 53 percent drop for fourth place and $54.5 million total. Of the two other wide releases this weekend, at least the sci-fi family comedy "Aliens in the Attic" -- which grossed a meager $7.8 million for fifth place -- broke into the top 10. The torture porn flick "The Collector" collected a grisly $3.6 million and plopped dead at 11th place. Box office on a whole was down a massive 22 percent from last year, when The "Dark Knight" and "The Mummy: Tomb of the Dragon Emperor" both took in over $40 million, but the specialty market showed some vibrant signs of life. Bone fide indie hit "(500) Days of Summer" expanded to 266 theaters for $2.7 million, a $10,338 per theater average. And three widely disparate films opened in four theaters each to healthy per theater averages: The quirky romantic comedy "Adam" ($16,566 per theater), the stylish vampire film "Thirst" ($13,793 per theater), and the eco-thriller-cum-documentary "The Cove" ($13,600 per theater). Finally, a true milestone was reached this weekend by "The Hangover." With $5.1 million this weekend for a running total of $255.8 million, the summer's biggest die hard blockbuster has passed "Star Trek" and (for a brief moment) "Harry Potter 6" as the third highest grossing movie of the year. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: Which pigs of "G-Force" were right on Potter's heels at third place ?

Question: What is number 1 at the box office?

Question: what did harry potter make

Question: Which movie was third place at the box office?

Question: what made 23.4 million

Question: What movie came in second with $17.7 million ?

Question: who was in third place

Question: What was the movie title with 17.7 million?

Question: "Funny People" is No. 1 at box office with an estimated how much ?

Answer: guinea

Answer: "Funny People,"

Answer: $17.7 million,

Answer: "G-Force"

Answer: "Funny People,"

Answer: "Harry Potter and the Half-Blood Prince"

Answer: "G-Force"

Answer: "Harry Potter and the Half-Blood Prince"

Answer: $23.4 million,

Summary:
"Funny People" is No. 1 at box office with an estimated $23.4 million .
"Harry Potter and the Half-Blood Prince" came in second with $17.7 million .
The guinea pigs of "G-Force" were right on Potter's heels at third place .
See what other flicks made this week's top 10 box office chart .


(Entertainment Weekly) -- Jaden Smith is getting a small taste of what it's like to walk in dad Will's action-blockbuster shoes. Keanu Reeves stars in the remake of the 1951 sci-fi flick "The Day the Earth Stood Still." As expected, the remake of the 1951 sci-fi flick starring Keanu Reeves easily replaced "Four Christmases" atop the box office leader board with an opening weekend gross of $31 million, according to Sunday's estimates. Despite mediocre reviews, the film held fairly steady throughout the weekend, falling slightly shy of our $36 million estimate. The Vince Vaughn-Reese Witherspoon yuletide comedy came in second with $13.3 million, bringing its three-week total to just under $88 million, while "Twilight" faded to the third spot during its fourth week with just over $8 million. The teen vampire romance managed to reach one milestone, however, grossing a total of $150 million -- the amount director Catherine Hardwicke surmised the movie would have to suck in for sequel "New Moon" to get the go ahead. Obviously, Summit executives saw the writing on the wall weeks ago and have hired Chris Weitz ("About a Boy," "American Pie") to direct next fall's follow-up. Rounding out the top five are Disney's doggie flick "Bolt" with $7.5 million and Baz Luhrmann's underperforming "Australia" with $4.3 million. The weekend's other new major release -- "Nothing Like the Holidays," starring John Leguizamo and Debra Messing -- got coal in its stocking with a measly $3.5 million during its first weekend. Also of note is the Clint Eastwood-starring "Gran Torino" (rumored to be the actor-director's last turn in front of the camera). Although it opened in only six theaters (three in New York, three in L.A.), the film scored the best per screen average, $47,333, with a gross of only $284,000. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: Which movie  reached a gross total of $150 million ?

Question: Which film debuted with a weekend gross of 31 million?

Question: What type of movie is "Twilight"?

Question: Which movie came in second place?

Question: How much money did "The Day the Earth Stood Still" make in its first weekend?

Question: What movie slipped to second with $13.3 million ?

Question: What movie debuted with a weekend gross of $31 million ?

Answer: The teen vampire romance

Answer: "The Day the Earth Stood Still."

Answer: teen vampire romance

Answer: "Four Christmases"

Answer: $31 million,

Answer: "Four Christmases"

Answer: "The Day the Earth Stood Still."

Summary:
"The Day the Earth Stood Still" debuted with a weekend gross of $31 million .
The yuletide comedy "Four Christmases" slipped to second with $13.3 million .
Teen vampire romance "Twilight" reached a gross total of $150 million .


(Entertainment Weekly) -- Neither the magic of Harry Potter nor the combined star power of Katherine Heigl and Gerard Butler was enough to keep a crew of wise-cracking guinea pigs from scurrying to the top of the box office this weekend. Disney's family comedy "G-Force" made an estimated $32.2 million in its debut. Disney's family comedy "G-Force," produced by Jerry Bruckheimer and featuring the voices of Nicolas Cage, Will Arnett, and Penelope Cruz as a team of world-saving rodents, made an estimated $32.2 million in its debut. Despite opening hot on the heels of the one-week old "Harry Potter and the Half-Blood Prince," the animation/live action hybrid pic was a hit with young audiences, pulling 55 percent of its viewers from the under-18 crowd. But Potter's box office magic hasn't worn off just yet: The series' sixth installment landed in the number two spot its second weekend with $30 million, bringing its total to $221.8 million. After just 12 days in theaters, 'Half-Blood' is already the fifth biggest hit of the year domestically, not to mention overseas, where the powerhouse has raked in an additional $236 million. There was plenty for adults to enjoy at the box office, too. "The Ugly Truth," a raunchy R-rated rom-com that pits Katherine Heigl and Gerard Butler in a battle of the sexes, scored an impressive $27 million bow, a career best for both Heigl and director Robert Luketic ("Legally Blonde"). The weekend's other wide release, Warner Bros' creepy "Orphan" -- starring Peter Sarsgaard and Vera Farmiga -- pulled in $12.8 million from an audience that was 55 percent female. Lower down on the chart, Fox Searchlight's "(500) Days of Summer" (at number 11 with $3 million) is still building momentum. The quirky rom-com posted a hefty $19,176 per-site average and a 95 percent increase over its debut last weekend. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: What installment of Harry Potter was released?

Question: Who stars in "The Ugly Truth"?

Question: How much money did the Disney film make?

Question: Who stars with Katherine Heigl in "The Ugly Truth"?

Question: What is the name of the sixth installment of the "Potter" series?

Question: What installment of Harry Potter?

Question: What film was in the number one spot?

Question: Who stars in The Ugly Truth?

Question: How many dollars did Disney's family comedy bring in?

Answer: The series' sixth

Answer: Katherine Heigl

Answer: $32.2 million

Answer: Gerard Butler

Answer: "Harry Potter and the Half-Blood Prince,"

Answer: sixth

Answer: "G-Force"

Answer: Katherine Heigl and Gerard Butler

Answer: $32.2 million

Summary:
Disney's family comedy brought in an estimated $32.2 million over the weekend .
The sixth installment of the "Potter" series raked in another $30 million at No. 2 .
"The Ugly Truth," starring Katherine Heigl and Gerard Butler, took in $27 million .
Check out the other top earners on this weekend's top 10 list .


(Entertainment Weekly) -- Once upon a time -- oh, let's just call it North America in the mid-'90s, shall we? -- Weezer and Alanis Morissette were an inescapable part of the cultural landscape, churning out buoyant rock-radio hits (Weezer), wordy, eccentric anthems (Alanis), and MTV-friendly videos (both) with impressive consistency.

Alanis Morissette struggled to find a way to stay current after her last album failed to do well.

Each act's follow-ups, however, have failed to yield quite the success of their initial impact. So how, in the face of a never-ending rush of fresh industry blood, does an already established act stay relevant?

For Morissette, the answer on new CD "Flavors of Entanglement" seems to lie, for better or worse, in going through a really, really bad breakup.

The same kind of passion that fueled the 15-million-selling '95 smash "Jagged Little Pill" (was there ever a woman more excellently scorned than the Alanis who excoriated her lover on "You Oughta Know"?) is all over "Entanglement" -- thanks to a well-publicized split with actor fiance Ryan Reynolds.

Granted, at 34, she still writes too often in the histrionic, no-one-has-ever-felt-what-I-feel style of a feverishly journaling liberal-arts major.

Even so, the rawness of her hurt adds heft to eff-you screeds like the thunderous "Versions of Violence," and she's found an able partner in producer and co-writer Guy Sigsworth, a onetime Björk collaborator.

His dense, swirling compositions seem to push Morissette's boundaries, conjuring her inner Princess of Darkness on the glitchy, gothy "Straitjacket" and exploring Far Eastern exotica on the tabla-tinged opener "Citizen of the Planet."

But her most affecting moment may be the most stripped down. A barely-there piano is all the accompaniment needed on the broken, fragile ballad "Not as We," on which her voice cracks heartbreakingly over the lines "From scratch begin again, but this time, I as I/And not as we."

Somehow, a devastating personal experience has galvanized her songwriting in a way that domestic bliss, as showcased on 2004's disappointing "So-Called Chaos," could not.

EW Grade: B+

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Question: Who is Ryan Reynolds?

Question: Who has Morissette partnered with?

Question: What is Alanis Morissette's most affecting moment on the album?

Question: Who did Morissette partner with?

Question: What happened with actor fiance Ryan Reynolds?

Answer: actor

Answer: Weezer

Answer: which her voice cracks heartbreakingly over the lines "From scratch begin again, but this time, I as I/And not as we."

Answer: Weezer

Answer: split

Summary:
Breakup with actor fiance Ryan Reynolds part of "Flavors of Entanglement"
Alanis Morissette's most affecting moment on the album is sparest .
Morissette partners with producer, co-writer Guy Sigsworth .


(Entertainment Weekly) -- Over the last decade, Steven Soderbergh has taken the "one for them, one for me" concept of film-director politics to an almost comically programmatic extreme.

Benicio Del Toro plays Ernesto "Che" Guevara in Steven Soderbergh's biopic.

Basically, he makes big-budget crowd-pleasers like the "Ocean's" films, stuffed with movie stars and candied gimcrack fun, and between them he makes whatever oddball labor-of-love doodle (the enticing "Bubble," the dreadful "Solaris") enters his head.

What's disorienting about "Che," his two-part, four-hour-and-17-minute, studiously eccentric drama about the revolutionary life and times of Ernesto "Che" Guevara, is that it's almost a knowing brainteaser on Soderbergh's part to force you to figure out which category the film belongs to.

Che cost a reported $65 million to make, it's full of exacting panoramas of strategy and combat set in the mountainous jungles of Cuba and Bolivia, and its hero is a figure who -- 41 years after his violent death -- remains so loved, hated, and mythologized that he fits into an epic drama timed for awards season as perfectly as Gandhi or Ray Charles ever did. Following a one-week Oscar-qualifying run, "Che" is now rolling out to major American cities, where it is likely to draw generations of filmgoers who've either worn Che on their T-shirts or have the honest curiosity to wonder: Who was this man before he became a Warhol-worthy icon of radical chic?

In "Che," Soderbergh stokes that curiosity, feeds it, and frustrates it, all at the same time. He's made a film that embraces the romance of revolution only to shake it off, leaving very little in its place.

The first half of "Che" is a genuine achievement. It picks up Guevara (Benicio Del Toro) in 1955, when he was a clean-cut Argentine physician who dreamed of uniting Latin America through armed struggle. At a dinner party in Mexico City, he meets Fidel Castro -- played, with perfect domineering gesticulations, by Demian Bichir -- and the movie follows these two into the Cuban countryside, where they assemble the nuts and bolts of a revolution.

Soderbergh exhibits a tinkerer's fascination with how it all worked, embedding each scene with a docu-nugget of information. We see Che taming his asthmatic coughing fits or reading books between battles, and learn how a battalion of rebels could defeat a platoon three times its size (with surprise, daring, and Molotov cocktails).

Che is by turns scholar, guidance counselor, drill sergeant, and comandante, and Del Toro makes him a warrior-saint who learns, against his will, to cultivate a gruff bruiser facade. He yearns to be a "true revolutionary, the highest level of humanity," and it's no insult to the film to say that Soderbergh and Del Toro succeed in portraying Che as a kind of T-shirt in three dimensions, a Guerrilla for All Seasons.

But that's when things get strange, if not monumentally perverse. At the end of Part I -- the victory of the Cuban rebels -- my appetite was whetted to learn even more about Che, in particular how his humane ideals were tested, and compromised, by the Castro regime as it edged toward dictatorship. Instead, Part II leaps forward to 1966-67, when Che led the revolutionary war in Bolivia, and here's the thing: It turns out to be the same damn movie. Only in this dispirited rerun, the revolution doesn't take.

The rebels, all squabbling ego, can barely summon the will to sacrifice and die, and the peasants have little belief that this ragtag crew is bringing a better world. Even with the U.S. poking its nose into the region, the Soviet Union won't back an insurrection.

Soderbergh has built "Che" conceptually, as two giant panels of war, and his message is about the doomed destiny of Marxism. Che, like Marx,

Question:
what is the name of the movie
What is the length of the movie?
who wrote the moive
Who had a brilliant first half?
What is the name of the director?
What is the name of lead actor?

Answer: "Che,"

Answer: four-hour-and-17-minute,

Answer: Steven Soderbergh

Answer: "Che"

Answer: Steven Soderbergh

Answer: Benicio Del Toro

Summary:
"Che" has a brilliant first half, but second half is repetitious, says EW .
Steven Soderbergh's four-hour film is trying to make a point, but loses steam .
However, Benicio Del Toro is terrific as famed Marxist revolutionary .


(Entertainment Weekly) -- Punctuation promises comedy in "The Informant!" as if the title subject is a cartoon secret agent -- maybe Agent 86 in "Get Smart." Matt Damon, as a corporate turncoat, offers up secrets in "The Informant!" But he's not. The whistle-blower worthy of an exclamation point in this groovy-looking, chuckle-baiting, fact-based movie from protean director Steven Soderbergh is Mark Whitacre (Matt Damon), a biochemist and well-placed executive at the agri-processing giant Archer Daniels Midland (ADM) in Decatur, Illinois. It's the early 1990s. The company man is helping expose ADM's alleged global price-fixing activities to the FBI, cooperating with the feds long enough to gather invaluable evidence. But what Whitacre doesn't confide to his FBI handlers, and what his wheat-colored jackets, Dilbert ties, and weakling mustache hide, at least at first, is that this inside source is not completely trustworthy. Damon, fattened up to fit his boxy suits, wears Whitacre's slack demeanor beautifully. The star -- who has quietly and steadily turned into a great Everyman actor -- is in nimble control as he reveals his character's deep crazies.  Watch why Damon gained 30 pounds for the role » Soderbergh's amused study of the highest-ranking corporate whistleblower in U.S. history is adapted from "The Informant: A True Story," an amazing, deeply reported book by New York Times reporter Kurt Eichenwald. That book told the story without editorial eye-rolling. But somewhere between Eichenwald's journalistic attention to detail and the bubbly, dialogue-besotted script by "The Bourne Ultimatum's" Scott Z. Burns, Soderbergh has chosen to apply an attitude of arch whoopee, a greasy veneer of mirth over what is, no joke, a serious mess of malfeasance and mental instability. It's tempting to laugh, but what's the joke: Whitacre? ADM? The FBI? The fashion trends of Decatur? Smarty condescension lurks behind the suburban bushes. Had a '90s date and place card not been supplied, I would have remained in an honest muddle about the era depicted on screen. And since Whitacre is subliminally likened to bumbling, fictional Maxwell Smart, that's probably as the filmmaker intended. The artistic choice is reinforced by a '70s-era "Laugh-In" aesthetic seen in everything from the smiley yellow novelty typography of the opening credits to the fancy rubber-chicken music served up in heaps of horns and whistles by essence-of-'70s composer Marvin Hamlisch. Sock it to me. Playing it straight and letting his Sam-Donaldson-meets-Spock hairdo suggest otherwise, Scott Bakula makes an appealing FBI agent with a deadpan grimace just this side -- or maybe it's the other side -- of "Dragnet's" Joe Friday. Comedian Joel McHale from E!'s "The Soup" plays the fellow agent who stares with big round eyes while his partner squints at Whitacre's successive leakages of truth/lie/ truth/lie. The always wonderful, huggable Melanie Lynskey, who stole the show in "Away We Go," does more great wifely work as Ginger Whitacre, her husband's biggest booster. A valued subset of Soderbergh's audience is sure to dig iconic hipster comic brothers Tom and Dick Smothers in small roles. In fact, the wily pair would fit right in with an "Ocean's Whatever" cast of coolios, enjoying some retro-style ensemble fun, regardless of whether the audience does. Soderbergh is as smart, stylish, and attentive a filmmaker as they come. And there are moments in "The Informant!" when I can almost be convinced that the tonal feints he establishes at the intersection of joke and no-joke are seriously, thoughtfully meant to replicate the misaligned synapses in Whitacre's own head. iReport.com: Damon's latest worth checking out But if that's the intention, Soderbergh ultimately made the choice to abandon interesting, dispassionate empathy for the more quick-fix payoff of amusement. As Whitacre goes through his days, Damon recites interior monologues of distracted

Question: Who does "The Informant!" star?

Question: Who was "The Informant!" directed by?

Question: What role does Matt Damon's character play?

Answer: Matt Damon,

Answer: Steven Soderbergh

Answer: corporate turncoat,

Summary:
"The Informant!" stars Matt Damon as corporate worker giving info to FBI .
Damon's character is an untrustworthy provider, and actor's performance great .
But movie plays situations too much for laughs, says EW .
"The Informant!" is directed by Steven Soderbergh .


(Entertainment Weekly) -- Sandra Bullock will surely be popping open the champagne as her new romantic comedy, "The Proposal," accepted the top spot at the box office this weekend by grossing $34.1 million, according to early estimates by Hollywood.com Box Office. Ryan Reynolds and Sandra Bullock have reason to celebrate after "The Proposal" takes top box office spot. Not only did "The Proposal" win the weekend, but it was by far the best opening of Bullock's career, nearly doubling the opening of her previous best, "Premonition," which debuted to $17.6 million in 2007. While "The Proposal's" success was fueled mostly by women (73 percent of the audience was female), both women and men gave it a healthy "A-" CinemaScore rating, so expect the movie to hold up fairly well during the next few weeks. The weekend's other big release, the prehistoric buddy comedy "Year One," landed in fourth place with $20.2 million -- an okay debut for the $60 million movie. However, all indicators point to a quick descent for the Jack Black/Michael Cera flick. "Year One" dropped 24 percent from Friday to Saturday (never a reassuring sign), and the movie received an unimpressive "B-" rating from CinemaScore. "Year One" is all but certain to join "Land of the Lost" as another box-office disappointment for high-concept comedies. On the other hand, "The Hangover" (No. 2 with $26.9 million) and "Up" (No. 3 with $21.3 million) continued to show off their box-office stamina, dropping only 18 percent and 31 percent, respectively, from the prior weekend. "Up" now stands at $224 million, and may levitate past "Star Trek" (currently at $239 million) to become the year's highest-grossing film. Finishing off the top five was "The Taking of Pelham 1 2 3," which fell an alarming 52 percent for an $11.3 million weekend stash. Also opening this weekend was Woody Allen's "Whatever Works," starring Larry David. The New York-based comedy laughed up $281,000 from just nine theaters for a weekend-leading $31,000 gross per theater. The film will expand to more than 300 theaters on July 3. Overall, the box office was up 3 percent compared to last year's Father's Day weekend, when "Get Smart" debuted to a surprisingly sharp $38.7 million. Hope you all are having a splendid Father's Day! I know I will -- I'm taking my pop to see "Up." CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: What accepted the top spot at the box office?

Question: What is the best opening of Bullock's career?

Question: What genre is the "The Proposal"?

Question: How much did "The Proposal" gross?

Question: What was the second best grossing movie?

Answer: "The Proposal,"

Answer: "The Proposal,"

Answer: comedy,

Answer: $34.1 million,

Answer: "The Hangover"

Summary:
"The Proposal," accepted the top spot at box office by grossing $34.1 million .
This is the best opening of Bullock's career, nearly doubling her previous best .
Jack Black's comedy "Year One" landed in fourth place with $20.2 million .
Check out the rest of the top 10 movies at this weekend's box office .


(Entertainment Weekly) -- Score a personal best at the box office for Quentin Tarantino this weekend. "Inglourious Basterds," his revisionist take on WWII starring Brad Pitt, grossed an estimated $37.6 million, besting the reigning box office champ "District 9," and giving beleaguered studio The Weinstein Co. a little financial relief.

"Inglourious Basterds," a revisionist take on WWII starring Brad Pitt, grossed an estimated $37.6 million.

"Basterds'" opening far surpasses Tarantino's previous best opener, "Kill Bill Vol. 2," which brought in $25 million in April 2004. The critical question now is how "Basterds" will hold up during the next few weeks. Since Weinstein only has domestic rights to the movie -- Universal Pictures holds international -- a large overall gross stateside is mandatory for the company.

Warner Bros. had a much harder time with its release "Shorts" from auteur Robert Rodriguez. Opening to only $6.6 million, the PG-rated kid flick landed in a weak 6th place finish for its opening frame.

The only other new release to reach the top ten was Fox Searchlight's post-college flick "Post Grad" starring Alexis Bledel. Despite opening in 1,959 locations, the film grossed only an estimated $2.8 million for the three days.

Among holdovers, "District 9" did incredibly well considering Basterds was angling directly for its male audience. The $30 million sci-fi movie from newcomer Neil Blomkamp dropped a scant 49% to $18.9 million putting its total ten day gross at an impressive $73 million.

"G.I. Joe" also hung in for its third week in theaters. The high-octane actioner fell only 44 percent to $12.5 million. It's three-week cume now stands at $120 million. Female moviegoers helped keep "The Time Traveler's Wife" and "Julie & Julia" in the top five.

"Time Traveler" dropped only 46 percent to $10 million its second week putting its ten-day gross at $37.4 million while "Julie & Julia" fell only 25 percent, which is remarkable considering the movie is in its third week of release. Grossing $9 million for the three days, the Meryl Streep, Amy Adams two-hander has now earned $59 million total.

Thanks to the strong opening of "Basterds" and the solid hold of the incumbent films, the box office was up 26 percent compared to the same time last year. It's the third week in a row the box office was up after four weekends of unimpressive results. Next weekend's horror mash-up of "Halloween II" and "The Final Destination 3-D" should yield some positive results too.

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Question: What movie earned $12.5 million in the third week?

Question: who had a much harder time?

Question: what company had a harder time with a movie release

Question: Who had a hard time with its release "Shorts"?

Question: who bests the reigning box?

Question: Who beat the reigning box office champ?

Question: what movie hung in there for it's third week

Answer: "G.I. Joe"

Answer: Warner Bros.

Answer: Warner Bros.

Answer: Warner Bros.

Answer: Quentin Tarantino

Answer: Quentin Tarantino

Answer: "G.I. Joe"

Summary:
"Inglorious Basterds" bests the reigning box office champ "District 9"
Warner Bros. had a much harder time with its release "Shorts"
"G.I. Joe" also hung in for its third week, earning an additional $12.5 million .
See which other films made the top ten list at the box office .


(Entertainment Weekly) -- Spike Lee's last film, the gratifyingly tense and tricky "Inside Man," was celebrated -- rightly -- for the way that Lee finally jumped, feet first, into the studio-genre-movie game. Director Spike Lee poses for a shot during the filming of "Miracle at St. Anna" in Rome, Italy. He cooked up a gourmet-popcorn heist thriller and stamped every moment with his personality. Lee, until now, has never made a movie -- good or bad -- that wasn't unmistakably his. His latest, "Miracle at St. Anna," is the first Hollywood feature to tell the story of the African-American soldiers who fought in the U.S. armed forces during World War II , and as such it's a movie with a monumental mission. Unfortunately, that's more or less the only monumental thing about it. "Miracle" isn't powerful, it's muddled and diffuse, and the disappointment of the film begins with what a hard time I had finding Spike Lee in it. Based on a 2002 novel by James McBride, who also wrote the screenplay, the movie has a drifting, scattershot structure and no real organizing tone or style (if you wondered what Lee's frozen-figure-on-receding-background shots might look like in a wartime setting, then keep wondering). The bizarrely contrived framing device is set in the 1980s, when a postal worker named Hector Negron (Laz Alonso) mutters in anger at an old John Wayne war flick on TV, then shoots and kills a man who shows up to buy stamps. (He surely has his reasons, but does he really get away with stashing a loaded Luger under his post-office window each day?)  Watch Spike Lee talk about the film » After his arrest, Hector won't talk, but a reporter finds a clue in the form of a priceless artifact hidden in his apartment: the head of a statue that once adorned a bridge in Florence that was wrecked by bombs during World War II. From this labored and gimmicky setup, the film flashes back to the itch and fear of battle, as Hector, along with other members of the all-black 92nd Infantry Division and its ''Buffalo Soldiers,'' stalks the Tuscan countryside. It's September 1944, and as they try to cross the Serchio River, the men are ambushed. The sequence has thunderous explosions, jittery editing, blown-up bodies -- everything but the virtuosity of staging that might have made the chaos and carnage revelatory instead of just a Saving Private Ryan rehash. Four members of the division end up stranded behind enemy lines, all but abandoned by a racist commander. In addition to Negron, there's Staff Sgt. Aubrey Stamps (Derek Luke), a college-educated stoic devoted to his service; Sgt. Bishop Cummings (Michael Ealy), furious at the world and a loose cannon, with no loyalty to the country he's fighting for; and Pvt. Sam Train (Omar Benson Miller), a starry-eyed oversize simpleton who rescues, and befriends, an Italian urchin (Matteo Sciabordi). The dramatic focal point, if you can call it that, is the war of wills between Stamps and Cummings. These two play out a version of the assimilate-versus-agitate debate that has echoed through many decades of African- American life, though this one would be more convincing if Ealy, a dynamic actor, had been asked to project his anger more in period, with a little less proto-gangsta recklessness. The men arrive at a picturesque village, where they mingle with the locals and Stamps and Cummings stoke their rivalry over Renata (Valentina Cervi), a married woman who is lovely in a saintly way. The film then veers into an endless, murky subplot about the Italian resistance from which it never recovers. "Miracle at St. Anna" wants to do too many things at once to do any of them with much verve. It aspires to be a war epic, but it's dominated less by combat

Question: what Movie based on a 2002 novel by James McBride?

Question: Who wrote a screenplay?

Question: What genre does James Mcbride write?

Question: What isn't powerful?

Question: what "Miracle" isn't powerful but muddled and diffuse?

Question: Who is Spike Lee?

Question: What was the movie based on?

Question: what Spike Lee's film tells story of African-American?

Answer: "Miracle at St. Anna,"

Answer: James McBride,

Answer: studio-genre-movie game.

Answer: "Miracle"

Answer: "Miracle at St. Anna"

Answer: Director

Answer: African-American soldiers who fought in the U.S. armed forces during World War II

Answer: "Miracle at St. Anna,"

Summary:
Spike Lee's film tells story of African-American soldiers during World War II .
"Miracle" isn't powerful but muddled and diffuse, reviewer writes .
Movie based on a 2002 novel by James McBride who also wrote screenplay .
Reviewer: "Real trouble with 'Miracle' is that Lee's filmmaking is joyless"


(Entertainment Weekly) -- The Disney family film update, "Race to Witch Mountain," won the weekend box office in fine fashion, grossing $25 million according to Sunday's estimates from Media by Numbers. "Race to Witch Mountain" won the weekend box office in fine fashion, grossing $25 million. That's the second best opening ever for a movie fronted by Dwayne Johnson alone, trailing only the first feature that starred the artist formerly known as The Rock, "The Scorpion King," which banked $36.1 million in its 2002 debut. "Race to Witch Mountain's" take was in line with expectations and garnered an okay CinemaScore grade of B+ from an audience that was 60 percent female. It should stay strong at the box office at least until "Monsters vs. Aliens" opens in two weeks. Also in "Race to Witch Mountain's" favor: weak competition from reigning champ "Watchmen" (No. 2), which dropped a hefty 67 percent from its big opening last weekend to gross $18.1 million. Zack Snyder's adaptation of Alan Moore's landmark superhero saga is clearly slowing down, although it has grossed $86 million in 10 days. Freshman fright flick "The Last House on the Left" was next at No. 3, with an anticipated $14.7 million. That's a decent sum for a horror movie that had the added benefit of opening on "Friday the 13th;" indeed, it's in line with what most scary remakes tend to bring in on their first weekends. Thus, you can expect this film (which got a so-so B CinemaScore review) to fall off the map after this frame, since that's also what most horror movies do. "Taken" (No. 4 with $6.7 million) remained in the top five well into its second month at the multiplex. Tyler Perry's "Madea Goes to Jail" came in at No. 5 with $5.1 million. And the weekend's other new wide release, the Playboy-centric comedy "Miss March," grossed an unsexy $2.3 million way down at No. 10. Meanwhile, the limited indie release "Sunshine Cleaning," starring Emily Blunt and Amy Adams, scored the highest opening-weekend per-theater average thus far in 2009, dusting up a stellar average of $53,500 in four theaters in New York and Los Angeles. Overall, the box office was a little on the sluggish side, dropping nearly 17 percent from the same frame a year ago, when "Dr. Seuss' Horton Hears a Who!" was the big winner. Still, this is just the first "down" weekend in more than a month, which is comforting. CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question:
How much did Watchmen drop
Who fronted the movie
What movie was number 3
What came in No. 3?

Answer: 67 percent

Answer: Dwayne Johnson

Answer: "The Last House on the Left"

Answer: "The Last House on the Left"

Summary:
This is the second best opening ever for a movie fronted by Dwayne Johnson .
"Watchmen" dropped a hefty 67 percent from its big opening last weekend .
"The Last House on the Left" came in at No. 3 with an anticipated $14.7 million .
See what other movies made the box office top 10 .


(Entertainment Weekly) -- They have come to glimpse the miracle. They have come to witness the revolution. They have come for "Watchmen" -- the allegedly unfilmable superhero movie, the long-awaited adaptation of the comic book that changed the face of comic books forever.

Billy Crudup plays Dr. Manhattan, a powerful superhero in "Watchmen."

On this warm July morning, over 5,000 fans attending the annual geek pop summit known as Comic-Con have assembled inside the San Diego Convention Center for a first look. Many spent the night on the sidewalk. Some have come in costumes. Behind the stage, indie-movie icon Kevin Smith parks himself in front of a closed-circuit TV, a happy grin on his bearded mug.

"You have to understand, I've been waiting for this moment for years," says Smith. "This is it, man. This is the pinnacle."

All this, for a violent, ironic superhero epic that doesn't like superheroes in the first place. Directed by "300's" Zack Snyder, "Watchmen" presents a set of familiar superhero archetypes -- and then subverts them completely. Rorschach (Jackie Earl Haley) is like the Spirit ... except he's a joyless, hard-line misanthrope. The Comedian (Jeffrey Dean Morgan) is like Captain America ... but loyal only to sadistic thrills and a corrupt worldview. Nite Owl (Patrick Wilson) is part Batman, part Iron Man ... except he's also a schlubby, impotent coward. Ozymandias (Matthew Goode) is the resident genius ... who's built an empire on superhero toys. (You see what we mean by irony.)

Says Billy Crudup, whose blue, naked Dr. Manhattan is an almighty Superman dangerously detached from his own humanity: " 'Watchmen' is a kind of thrilling thought experiment. What would people who dress up in costumes to fight crime actually be like? Well, they'd probably be fetishists who lived on the fringes of society. They'd all be a bunch of freaking lunatics."

Yet for all its self-awareness and cynicism, "Watchmen" isn't some cheap-and-silly "Scary Movie" parody. Adapted faithfully, if not completely, from the celebrated 1986 comic-book series, Snyder's film is visually and intellectually ambitious, filled with heady ruminations about savior figures, pop culture, and the politics of fear. At a time when superhero stories are commonplace and our shaken country is pinning its recovery on an idealistic new president, "Watchmen's" director believes his movie can serve as a bracing blast of healthy skepticism.

"Someone asked me if I thought that because Barack Obama had been elected president, the movie was no longer relevant. I said, 'Wow, that's a very optimistic view of the future!' " says Snyder. "The movie, like the comic, says, 'These superhero stories you've been feasting on? What if we took them seriously?' ... That's the fun."

But fun for whom? When "Watchmen" hits theaters on March 6, the comic-book cognoscenti will be there in droves -- although some are already sweating the heresy of dramatic changes. EW: What didn't make it?

And, for mainstream moviegoers, such talk of "subverting superhero archetypes" is liable to elicit a great big "Huh?" EW: A "Watchmen" primer

"Watchmen's" financial backers are clearly hoping the success of "The Dark Knight" has primed the market for sophisticated superhero films -- especially one that's two hours and 41 minutes long. But where "The Dark Knight" transcended genre conventions, "Watchmen" wallows in them. Violently.

Created by writer Alan Moore and artist Dave Gibbons, "Watchmen" is most often praised as the comic book that brought respect and maturity to a medium long dismissed as juvenile. It was the fanboys' "Catcher in the Rye" -- and maybe their first Playboy, too.

"I was 13 when I read 'Watchmen,' and it came to represent my coming

Question:
When is the Watchmen movie coming out?
What is it based on?
What is the film based on?

Answer: March 6,

Answer: comic book

Answer: the comic book that changed the face of comic books forever.

Summary:
"Watchmen" movie, after years in the works, finally coming out March 6 .
Film based on classic graphic novel that influenced many .
Film does not shy away from controversial themes, violence in novel .


(Entertainment Weekly) -- Usually, when characters in a movie are one-dimensional, that's not a good thing. But in "Night at the Museum: Battle of the Smithsonian," the waxworks figures who come to life after sundown aren't crassly sketchy or dramatically lacking. They're one-dimensional, all right, but knowingly, delightfully so. Ben Stiller and Amy Adams size up a bobble-head Albert Einstein in the "Night at the Museum" sequel. Even at their most pop-up brash, they're true to the way that kids see history. They're like characters out of a cool yet innocent mischief-at-midnight children's book -- a "Where the Wild Things Are" of global story-time kitsch. And they give you a lift. The movie, make no mistake, is clownishly silly, a lark as light as balsa wood. If anything, though, it's a faster, wittier spin on the formula of its predecessor. Released in 2006, "Night at the Museum" was a family popcorn extravaganza that touched a chord even its producers may not have anticipated. In the sequel, Ben Stiller, as the former night guard Larry Daley (he's now a successful entrepreneur ... of flashlights!), spends one long night infiltrating the galleries of the Smithsonian Institution, where he attempts to rescue the exhibits he first got to know at the American Museum of Natural History. (He's trying to get his hands on the magical Egyptian tablet that brings them to life.) The T.rex, the capuchin monkeys, Attila the Hun -- all have been shipped to the archives of the Smithsonian. And all are as feisty as ever. But "Battle of the Smithsonian" tilts away from the zoological. The film is a history-of-the-world burlesque in which such drolly self-centered icons as General Custer (Bill Hader), Ivan the Terrible (Christopher Guest), and Kahmunrah (Hank Azaria) -- a made-up pharoah who lisps with the enthusiasm of Boris Karloff on his own reality show -- collide happily with a living army of Albert Einstein bobblehead dolls, plus stone-carved angels who sing "More Than a Woman" and "The Thinker" come to life as a Brooklyn deadbeat. This is what you call a wholesome kiddie movie on drugs. It all works because Stiller, with his eager-to-please anxiety and his incredulous double takes, is the perfect addled straight man for a hellzapoppin history show. And it works because Amy Adams, as Amelia Earhart, has the breathless, daffy-sexy vivacity of a '30s screwball heroine, her eyes lit with fire, her delivery as sharp as cut glass as she rat-a-tats out lines like "You haven't been able to take your cheaters off my chassis since we met!" "Battle of the Smithsonian" has plenty of life. But it's Adams who gives it zing. EW Grade: B+ CLICK HERE to Try 2 RISK FREE issues of Entertainment Weekly

Question: what does EW say about the sequel

Question: Who does Amy Adams play?

Question: who stars in the movie

Question: What character does Amy Adams play?

Question: At which museum does the movie take place?

Question: What is the name of the movie being reviewed?

Question: Who plays the lead role?

Question: who is the standout from the film

Question: What is the sequel of?

Answer: Grade: B+

Answer: Amelia Earhart,

Answer: Amy Adams

Answer: Amelia Earhart,

Answer: Smithsonian,"

Answer: "Night at the Museum: Battle of the Smithsonian,"

Answer: Ben Stiller

Answer: Ben Stiller and Amy Adams

Answer: "Night at the Museum"

Summary:
EW: "Night at the Museum" sequel lighthearted, enjoyable .
Movie moves action to Smithsonian, where Ben Stiller character follows exhibits .
Standout of film is Amy Adams as screwball Amelia Earhart .