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Rebel Wilson boyfriend

The Pitch Perfect star dined with a male companion Tuesday night at Basix Cafe in West Hollywood. The Aussie actress, clad in a leather jacket and with her hair in a ponytail, savored fries and a soda while inside the dimly lit eatery. “She seemed totally laid-back and comfortable with her dinner guest,” an onlooker, who describes the meal as “peaceful,” tells us. “They were involved in a long conversation and seemed close.”

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Rebel Wilson boyfriend

Paranormal Activity 4 Debuts Atop The Box Office Though Somewhat Soft; Ben Affleck’s Argo Robust

A decent weekend overall, Paranormal Activity 4 lead the pack though its debut came in rather slow compared to previous installments. Argo held strong in its second weekend, showing word-of-mouth is cementing its box office prowess, while Hotel Transylvania , Taken 2 and Alex Cross rounded out the top five at the weekend box office. 1. Paranormal Activity 4 Gross: $30.2 million Screens: 3,412 (PSA: $8,851) Week: 1 The latest installment of Paranormal Activity lead a robust box office weekend. Still, it debuted comparatively lower to last year’s Paranormal Activity 3 , which opened with over $52.5 million in 3,321 theaters and a $15,829 average. Paranormal Activity 2 bowed with just under $40.7 million its opening weekend in October of 2010, averaging $12,649. 2. Argo Gross: $16,625,000 (Cume: $43,191,489) Screens: 3,247 (PSA: $5,120) Week: 2 (Change: – 14.6%) Debuting second to Taken 2 last week, Ben Affleck’s Oscar-buzzed political thriller held strong adding just 15 more theaters in its second run, holding solidly in the number two position again. Word-of-mouth is clearly propelling the title as it continues its run. 3. Hotel Transylvania Gross: $13.5 million (Cume: $119 million) Screens: 3,384 (PSA: $3,989)a Week: 4 (Change: – 21.7%) One month into release, the animated title is holding strong. It placed fourth in its third weekend and managed to up one spot in its fourth weekend out. The title added nine theaters in its fourth run. Last weekend the title grossed $17.3 million. 4. Taken 2 Gross: $13.4 million (Cume: $105,971,000) Screens: 3,489 (PSA: $3,841) Week: 3 (Change: – 38%) The number one film when it debuted, it tumbled over 55% in its second weekend, but managed to stem the fall a bit in the current round. The pic lost 217 theaters compared to the previous weekend and dropped from 1st to 4th place. 5. Alex Cross Gross: $11.75 million Screens: 2,539 (PSA: $4,628) Week: 1 Word had given the title based on crime novel I Alex Cross by James Patterson reaching the $20 million mark in its debut. Its the lowest debut for a movie starring Tyler Perry and it compares to a $13.2 million debut for Alex Cross title Kiss the Girls at $13.2 million and $16.7 million for Along Came a Spider . 6. Sinister Gross: $9.03 million (Cume: $31,950,168) Screens: 2,542 (PSA: $3,552) Week: 2 (Change: – 49.9%) The title had a hefty nearly 50% fall from its initial run, but it should be noted that it also faced a new challenger in the form of Paranormal Activity 4 . 7. Here Comes The Boom Gross: $8.5 million (Cume: $23,224,328) Screens: 3,014 (PSA: $2,820) Week: 2 (Change: – 28.1%) The title placed seventh after debuting in fifth place and held at the same number of theaters. Its 28% drop shows some momentum. It averaged $3,981 in its bow. 8. Pitch Perfect Gross: $7,009,100 (Cume: $45,769,448) Screens: 2,660 (PSA: $2,635) Week: 4 (Change: – 24.4%) The title dropped two places from its third weekend sixth position, but its b.o. change of just under 25% was much less steep than its 37.6 per cent drop from its third weekend. The title lost 127 theaters from the previous week. 9. Frankenweenie Gross: $4,434,000 (Cume: $28,343,000) Screens: 2,362 (PSA: $1,877) Week: 3 (Change: – 37%) Tim Burton’s latest stop motion animation had only a slightly lower drop in its third weekend than last week. It lost 643 locations, after holding in 3,005 theaters in its first two weeks. Last weekend it averaged $2,348 and debuted with a rather weak $3,798. 10. Looper Gross: $4.2 million (Cume: $57,840,132) Screens: 2,223 (PSA: $1,889) Week: 4 (Change: – 32.3%) The drop in receipts was less than the previous weekend’s nearly 50% drop and the film’s second run drop of nearly 42%. Looper lost 382 theaters in its fourth weekend. [ Sources: Box Office Mojo , Rentrak ]

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Paranormal Activity 4 Debuts Atop The Box Office Though Somewhat Soft; Ben Affleck’s Argo Robust

‘Pitch Perfect’: The Reviews Are In!

Critics are loving the movie’s quirky cast and the script’s hilarious one-liners. By Kara Warner Anna Kendrick in “Pitch Perfect” Photo: Universal Pictures

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‘Pitch Perfect’: The Reviews Are In!

Rebel Wilson and Ellen DeGeneres Make Like Salt ‘n Pepa

Okay, you got us: we’ll go see Pitch Perfect . For the second time this week, actress Rebel Wilson has made headlines for her performance on a talk show. First, she covered Lady Gaga on The Tonight Show . Now, she’s topped herself by rapping a duet with Ellen DeGeneres to the Salt ‘n Pepa classic, “Shoop.” This is a must-watch: Rebel Wilson and Ellen DeGeneres – “Shoop” Also on Ellen this week? Liam Neeson stripped !

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Rebel Wilson and Ellen DeGeneres Make Like Salt ‘n Pepa

Hotel Transylvania & Looper Lead A Box Office Resurgence

After box office doldrums in late summer and the start of fall, Hollywood finally had a weekend it can celebrate. Hotel Transylvania and Looper debuted to great numbers, helping to end a five week slump. The top ten accounted for just over $104.4 million with the top two titles accounting for $64 million of that total. Another newcomer, Pitch Perfect also opened robustly, ranking sixth in the chart despite being in only 335 theaters. Won’t Back Down , however, opened weak, providing a bit of a reality check. 1. Hotel Transylvania Gross: $43 million Screens: $3,349 (PSA: $12,840) Week: 1 Hotel Transylvania soared atop the box office, ending a five week slump in the overall chart. The Columbia/Sony title had the biggest September roll out ever, beating 2002’s Sweet Home Alabama and its $35.65 million debut. 2. Looper Gross: $21 million Screens: 2,992 (PSA: $7,086) Week: 1 The sci-fi action thriller had a solid debut. This is a great showing for Joseph Gordon-Levitt who clearly has crossed over into film stardom vs. a niche sensation. 3. End of Watch Gross: $8,000,265 (Cume: $26,168,897) Screens: 2,780 (PSA: $2,878) Week: 2 (Change: – 39%) Word-of-mouth helped keep End of Watch strong in its second weekend. Last week’s box office topper added 50 theaters and grossed a solid $8 million-plus. Not bad for a pic with a production budget estimated at $7 million. 4. Trouble with the Curve Gross: $7,530,000 (Cume: $23,726,000) Screens: 3,212 (PSA: $2,344) Week: 2 (Change: – 38%) The Clint Eastwood-directed pic remained in the same number of venues in its second turn and dropped to fourth from third in its initial run. 5. House at the End of the Street Gross: $7,154,000 (Cume: $22,224,969) Screens: 3,083 (PSA: $2,320) Week: 2 (Change: – 42%) Last week’s number 2 film stayed in the same number of theaters and had a less than robust weekend with a 42% drop. Still the thriller’s production budget was an estimated $10 million, which it has already doubled, minus P&A etc. 6. Pitch Perfect Gross: $5,212,600 Screens: 335 (PSA: $15,560) Week: 1 This is a huge opening for the Universal comedy. It has by far the least number of theaters among the titles in the top ten, yet it still managed to land in the sixth spot. The feature had the biggest per screen average in the top ten and indeed any title in theatrical release over the weekend. 7. Finding Nemo (3-D, re-release) Gross: $4,066,000 (Cume: $36,475,000) Screens: 2,639 (PSA: $1,541) Week: 3 (Change: – 58%) The 3-D re-release of the Disney animated film lost 265 theaters in its third round and suffered a steep 58% drop compared to the previous week. Likely no surprise that it will not do the huge business The Lion King 3-D re-release did last year, which cumed over $94 million. 8. Resident Evil: Retribution (3-D) Gross: $3 million (Cume: $38.7 million) Screens: 2,381 (PSA: $1,260) Week: 3 (Change: – 55%) Last week’s number 5 film lost 635 theaters and had a hefty 55% drop in its weekend take. Still, better than the 68% drop it had in its second turn and it will be unlikely it can make the lifetime gross of the previous three installments of Resident Evil , though it should surpass the first version of the series, which grossed just over $40.1 million in 2002. 9. The Master Gross: $2,745,000 (Cume: $9,633,070) Screens: 856 (PSA: $3,207) Week: 3 (Change: – 37%) The smash record-breaking open added hundreds of theaters last week and another 68 screens this weekend. However, it appears to have reached its limit, with a 37% drop in gross despite still being in a relatively small number of theaters. Paul Thomas Anderson’s There Will Be Blood cumed over $40 million in ’07, but now there may be some question as to whether his latest will do the same. 10. Won’t Back Down Gross: $2.7 million Screens: 2,515 (PSA: $1,074) Week: 1 The fourth weekend opener in the top 10 was also by far and a way the weakest. The Viola Davis and Maggie Gyllenhaal starrer should drop a large number of screens going into its second week and will likely have a short theatrical run. [ Sources: Hollywood.com , Box Office Mojo ]

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Hotel Transylvania & Looper Lead A Box Office Resurgence

When ‘Pitch Perfect’ Met ‘Hunger Games’

With Elizabeth Banks’ comedy out in limited release on Friday, Hobnobbing imagines what songs Katniss and co. could sing a cappella. By Amy Wilkinson John Michael Higgins and Elizabeth Banks in “Pitch Perfect” Photo: Universal Pictures

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When ‘Pitch Perfect’ Met ‘Hunger Games’

‘Game Of Thrones’ Season Three: ‘Love And Death’

Author George R. R. Martin and star Richard Madden tease next year’s episodes for MTV News. By Kara Warner Richard Madden as Robb Stark in season two of “Game of Thrones” Photo: Helen Sloan/ HBO

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‘Game Of Thrones’ Season Three: ‘Love And Death’

‘Pitch Perfect’ Stars Explain The Art Of The ‘Pitch Slap’

‘You never really get over being pitch slapped,’ Anna Camp jokes to MTV News. By Kara Warner Scene from “Pitch Perfect” Photo: Universal Pictures

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‘Pitch Perfect’ Stars Explain The Art Of The ‘Pitch Slap’

Anna Kendrick On ‘Pitch Perfect,’ Singing Onscreen, And How Being ‘Aggressively Dorky’ Paid Off

Oscar nominee Anna Kendrick ( Twilight , Up in the Air ) got her start on Broadway — nabbing a Tony nomination at the age of 12, no less — before making her film debut in 2003’s musical Camp . In this week’s infectiously fun college-set comedy Pitch Perfect she comes full circle playing Beca, an antisocial college freshman who reluctantly joins a ragtag campus a capella group as they attempt to pop song-warble their way to the top. Kendrick rang Movieline to discuss the crowd-pleasing Pitch Perfect , her initial resistance to doing a musical, how one afternoon’s worth of YouTube obsessing paid off (and led to one of the neatest performances in the film, and the undeniable power of Miley Cyrus’s “Party in the USA.” Beca is an audience surrogate of sorts, a loner entering this strange world of college a cappella from the outside. She is kind of an audience stand-in, and you get to be kind of repulsed by this aggressively geeky world at the beginning of the movie and then fall in love with it while Beca does. The interesting thing to me about the idea of a character that on paper is supposed to be really “cool” is, when you bring it to life, breaking her down and making her seem less cool, because that’s when I think the audience really connects with her. I don’t think you can just say, “Hey audience, this is a cool character so you’re supposed to like her.” For me, I fall in love with characters when they’re out of their element or are uncomfortable and you really feel for them in a knee-jerk sympathetic way. So I had a lot of fun trying to make Beca less cool. It’s fun to take a girl who fancies herself a little bad-ass and kind of embarrass her. That is a lesson she learns — that she’s not too cool for a cappella and she really does need these friends in her life. Yes — she has a secret love of pop music that she pretends to not have, but she lets her freak flag fly. She’s also probably the first mash-up DJ protagonist we’ve seen in the movies. To be perfectly honest, I was really nervous about that because I know friends who are into that kind of stuff and I didn’t want to put anything across onscreen that felt inauthentic. By the time we started filming I was like, “But really — when are you guys going to show me how to do this?” And we kind of ran out of time so I kind of refused to have them explicitly show too much of what Beca was doing because I didn’t know what I was doing. So it’s all alluded to but I didn’t want to have any glaring inaccuracies onscreen. You probably don’t need to worry too much. I have a feeling Pitch Perfect might inspire a generation of kids to look into this whole mash-up business. I hope so! That would be pretty sweet. Your career started on Broadway and in the film Camp , so Pitch Perfect brings you full circle back to music. Were you looking for a musically-oriented project? I wasn’t looking for this, and in fact I remember reading the script and the thing that made me nervous was the musical aspect. It was almost like I wish Kay Cannon could rewrite the script replacing the a cappella with a chess club because I was worried about it being corny. But I fell in love with the script so much because it was so smart and funny and surprising. I was so charmed by it, I was like, “Okay — guess I’m singing in a movie!” What gave you pause about singing again? I knew there’d be comparisons to Glee and there are people who just will not accept a musical as a good movie or automatically think it’s corny, so I knew that would be a little bit of a hurdle. And also it’s making yourself vulnerable in another way, putting yourself on screen singing in a completely sincere fashion. Which is not a problem for a lot of the characters in this movie, these kids who are so, so into a cappella and these competitions. It makes me happy to know this is based on a real community, that there are people like this out there in the world. When I was like 18 and I had just moved to L.A., a friend of mine had a crush on a guy who was in the UCLA a cappella group and I got dragged to this competition between UCLA and USC, and I thought it was going to be the most excruciating night of my life. By the end of it I was starstruck and thought these guys were the coolest, I wanted to meet them and hang out with them — and this was years ago, so it was an interesting example of how you can think something’s really dorky, like in the documentary Spellbound, but by the end of it you’re so invested. Do you see many parallels between the world of musical theater that you started out in and the world of a cappella? I think there are rock stars within every subgenre, and for people who are obsessed with musical theater Sutton Foster and Audra MacDonald are like Beyonce to them. I’m sure the a cappella world has their own version of that, and that exists in every geeky subculture. Did you audition for Pitch Perfect with a song? I met Jason like two years ago about it and they did ask me to sing, so I sang that song with the cups [from the film] that I learned from a YouTube video, and they were like, “Oh my god, that’s going in the movie!” I loved that routine! What inspired you to use that piece? Well, I had just learned it because I’m aggressively dorky. [Laughs] When they asked me to sing I was like, as it happened, here’s something I wasted an afternoon learning, so I might as well show them. That’s pretty impressive. It only took one afternoon? And from a YouTube video it was hard! The relationship Beca has with her fellow classmate Jesse (Skylar Adkins) is so adorably John Hughesian, but they bond over Beca’s film illiteracy. How has she never seen The Breakfast Club ? Coming from a film world and living in a film bubble it’s so hard for me to believe that anyone in the world says they don’t like movies and they’ve never seen Breakfast Club , so that was the least plausible thing in the movie in my mind. And I hated every second of pretending I wasn’t a huge film nerd. I mean, I suppose we all have holes in our film viewing history… Oh, so many! There are definitely movies I’ve never seen. I’ve never seen the original Heartbreak Kid , I’ve never seen Rome, Open City … obviously thousands upon thousands of films that I wish I could see. Sometimes there just aren’t enough hours in the day, but I do the best I can. In a fairly short period of time you’ve taken on a real variety of roles and projects. How much have the roles you’ve sought out and been offered changed over the years? I think right after Up in the Air everyone wanted me to play the girl from Up in the Air , and it took a little while for people to think of me as an actress from a film that they liked instead of just that character. So it was weird, a little bit of time had to pass before people like [ End of Watch director] David Ayer began thinking of me as the kind of softer, sexier wife character or in this, a kind of rebellious tattooed character. So I’m definitely grateful that those opportunities are coming along. And in The Company You Keep you play an FBI agent, which is pretty mind-blowing that you can play a college freshman and a government agent back to back. Yeah! I remember Michelle Monaghan one year played like 34 and 19 within a month of each other. I’m just flattered to have the opportunity to play so many different things, that people see me in different ways. Another upcoming film of yours is Joe Swanberg’s Drinking Buddies… It was one of those tightrope things where it was really amazing and really scary, but I had an amazing time making it. I’m glad I had the chance to do it, really glad I got to challenge myself in that way. Given that you had that bit of difficulty getting people to see you differently after Up in the Air this is particularly interesting because the cast of Drinking Buddies were allowed to help shape their characters. I basically based the character on my sister-in-law, which was fun. I don’t know if she’ll think it’s anything like her but that’s what I had in mind. Lastly, to bring it back to Pitch Perfect one last time, there’s a scene in the film that I see as a depiction of a universal truth: Nobody can resist singing along to Miley Cyrus’s “Party in the USA.” True or false? [Laughs] I think that scene was brilliant because it’s such a painfully corny song that Beca should hate, but it’s a telling moment. Is she going to pretend to be too cool for school, or is she going to go along with it and bond with these girls? I love that she’s willing to embarrass herself out of love for these new friends that she has. Pitch Perfect is in theaters Friday. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Anna Kendrick On ‘Pitch Perfect,’ Singing Onscreen, And How Being ‘Aggressively Dorky’ Paid Off

High And Low: Arthouse Freak-Out Beyond The Black Rainbow + Comedy Classic Airplane! Hit Home Video

Cinema connoisseurs of two kinds are in luck this week: Panos Cosmatos’s acid-trip of an arthouse thriller Beyond The Black Rainbow hits shelves as Movieline’s highbrow pick of the week, while the comedy classic Airplane! gets the Blu-ray treatment. Surely you can’t resist? HIGH: Beyond the Black Rainbow (Magnolia Home Entertainment; $26.98 DVD, $29.98 Blu-Ray) Who’s Responsible: Written and directed by Panos Cosmatos; starring Michael Rogers, Eva Allan, Scott Hylands. What It’s All About: A young woman (Allan) in 1983 undergoes “therapy” at the mysterious Arboria Institute, although any outside observer would be forgiven for thinking that she’s being mentally tortured by the twitchy and nefarious Dr. Barry Nyle (Rogers). Can she escape? Will her obsessive tormentor allow her to elude his clutches? Why It’s Schmancy: The word “trippy” just scratches the surface of the gorgeous psychedelic freak-out that’s been crafted here by first-time filmmaker Cosmatos. (His father, director George Pan Cosmatos, was the man behind more decidedly mainstream fare like Rambo: First Blood , Part Two and Tombstone .) Beyond the Black Rainbow pays homage to those ’70s thrillers in which dastardly things were happening behind the seemingly sterile walls of coolly impenetrable high-tech companies ( Colossus: The Forbin Project , Parts: The Clonus Horror , Coma , et. al.) with chilly aplomb; Cosmatos gets the period exactly right, from the hypnotically droning and heavily synth-y soundtrack by Jeremy Schmidt to Dr. Nyle’s black-turtleneck-under-tweed-blazer ensemble. The pace is slow, but the wonderfully weird payoffs are worth it. Why You Should Buy It: While a director commentary from Cosmatos would no doubt be illuminating, the auteur apparently prefers to let the work speak for itself; the only extras are the theatrical trailer and some deleted special effects footage where you get to watch a head melt. (Not a bad metaphor for how many audiences will respond to the film.) LOW: Airplane! (Paramount Home Entertainment; $22.98 Blu-Ray) Who’s Responsible: Written and directed by David Zucker, Jim Abrahams and Jerry Zucker; starring Robert Hays, Julie Hagerty, Leslie Nielsen, Robert Stack, Lloyd Bridges, Peter Graves. What It’s All About: This frenetic and outrageous satire of disaster movies in general (and 1957’s Zero Hour in particular) features shell-shocked war veteran Ted Striker (Hays) pursuing his stewardess girlfriend Elaine (Hagerty) on a flight from Chicago to Los Angeles; when food poisoning strikes the crew, Ted is the only hope of safely landing the plane, with a little help from a doctor (Nielsen), a jittery airport manager (Bridges) and Ted’s former commanding officer (Stack). Why It’s Fun: Many have tried but few have succeeded in copying the machine-gun-fire barrage of visual gags, puns, reference jokes and flat-out anarchic weirdness that have made this spoof one of the great American comedies of all time. It may be silly and sophomoric, but Airplane! is a miracle of pacing, with more laughs per minute than maybe any feature film ever made. Generations of new audiences unfamiliar with the 1970s disaster epics being parodied here still embrace this movie for its timelessly wacky pleasures. If nothing else, this movie may have succeeded at removing the word “surely” from serious conversation. Why You Should Buy It (Again): The extras — a feature-length commentary, pop-up trivia, and a “Long Haul” version of the film that allows viewers to click on icons to look at deleted scenes and interviews — will be familiar to anyone who purchased the previous “Don’t Call Me Shirley” edition. But Airplane! has never looked or sounded as sharp as it does on this Blu-Ray release (previously a Best Buy exclusive, now on sale everywhere). Previously: High And Low: Slapstick Savant Buster Keaton And (Surprise!) Horror Huckster William Castle Bring The Funny Follow Alonso Duralde on Twitter . Follow Movieline on Twitter .

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High And Low: Arthouse Freak-Out Beyond The Black Rainbow + Comedy Classic Airplane! Hit Home Video