Adele crowned 2011 iTunes champ

Apple's iTunes store, the largest music retailer in the country, has crowned Adele as 2011's sales champion. While iTunes does not release its sales figures, it listed Brit thrush Adele's "21" as its bestselling album of the year, and the vocalist's "Rolling in the Deep" as its bestselling song. To date, "21" has shifted a total of 4.8 million copies, according to Nielsen SoundScan. British folk quartet Mumford & Sons' long-legged 2010 release "Sigh No More" was the No. 2 album, succeeded by the deluxe edition of Lil Wayne's "Tha Carter IV," Kanye West and Jay-Z's "Watch the Throne" and Coldplay's late-year hit "Mylo Xyloto." Lady Gaga's "Born This Way" came in a distant No. 6; sales of the vocalist's million-selling package were no doubt couped by Amazon.com's 99-cent sales strategy for the release. Pop dominated the top five songs: Adele's hit was joined in the top five by LMFAO's "Party Rock Anthem," Katy Perry's "Firework," Bruno Mars' "Grenade" and Cee-Lo Green's euphemistically retitled "Forget You." David Fincher's "The Social Network" was the most-downloaded movie at iTunes, followed by "Limitless," "No Strings Attached," "Just Go With It" and "The Lincoln Lawyer." An episode of "The Walking Dead" was iTunes' top-selling TV offering, followed by offerings from "Glee," "Breaking Bad," "Sons of Anarchy" and "Gossip Girl." Unsurprisingly, the bestselling non-fiction book was Walter Isaacson's "Steve Jobs." Contact the Variety newsroom at news@variety.com

REVIEW: Tilda Swinton Keeps Mother-Boy Horror Story We must Discuss Kevin on course - Barely

If I had been being a film critic in 1968, I'd have informed expecting mothers against seeing Rosemary oil oil’s Baby. Today I’d exactly the same factor about We must Discuss Kevin: You don’t know what you're able receive once your little bundle finally arrives, plus it’s probably don't to think about it in advance. We must Discuss Kevin might be the Scottish filmmaker Lynne Ramsay’s third feature plus an adaptation of Lionel Shriver’s acclaimed novel. As a little of filmmaking, it’s candidly effective it’s the story which get in the way. Tilda Swinton plays mother from the teen who continues a killing spree at his school. A direct consequence, her existence falls apart — as well as the aftermath is when the story opens. Ramsay mix-cuts superbly between past and provide: We view Swinton living, apparently alone, in the run-lower house by having an otherwise nice street. She’s clearly uncomfortable there — once we first start to see the house, it’s been decorated with red-colored-colored fresh fresh paint. Ramsay jostles the narrative backward and forward and then we progressively discover how Swinton’s existence found be using this method. She and her husband (John C. Reilly) give birth with a boy after an unforeseen pregnancy. The moment he’s born, Swinton can’t communicate with him, no matter how hard she tries. He screams inside the crib too as with the carriage: Ramsay shows Swinton pushing the 2nd along a NY City Street, where the infant’s infernal squalling drowns out a pneumatic drill. Swinton gets the boy examined for autism she foretells him kindly or firmly, regarding the problem she tries to supply him with hugs. He responds either with outright contempt or total indifference. Meanwhile, he’s all smiles and sun along with his father, who’s convinced (because of not valid reason) the little one’s ill humor is incorporated in the mother’s mind. One warning signal to a different goes unheeded, through the film’s last third, the pileup of apparent signs is unforgivable. I realize you will discover very hard solutions if the involves this kind of psychotic behavior. But We must Discuss Kevin might be a too facile in the way it produces the terrible climax: Just one check this out kid and you also know he’s trouble, yet nobody besides mother are able to see it. (He’s carried out, within the teenage version, by Ezra Burns, who’s spookily peaceful.) I nearly groaned when dear old jumps presented a shiny, brand-new archer’s bow upon his boy, with no conventional father-style warning of, “Here you're going, kid — don’t put anybody’s eye out.” Simply what does be employed in We must Discuss Kevin might be the slow-burning, slow-building mother-and-boy horror story. The look is kind of a nightmare inversion of Mildred Pierce: This mother doesn’t adore her boy, and he or she overcompensates on her behalf neural by trying harder to win him over. He helps it be very tough: Just like a toddler decreasing being toilet-trained, he glares at her defiantly while he’s playing a freshly changed diaper. When she tries to coax him into saying “mommy,” he glares at her, Damian-like, and states, “NO!” Swinton is terrific — this is among her less mannered performances. Her emotional nakedness, her have to perform right factor by her boy whilst he saps her dry, are credible every minute. As well as the more I consider We must Discuss Kevin, the higher I’m glad that Ramsay was the director who handled to obtain. Ramsay is probably not a star-title filmmaker, but she’s already shown herself with two distinctive, perceptively crafted movies, Ratcatcher (1999) and Morvern Callar (2002). She was, for a while, set to evolve The Lovely Bones, but lost the rights to Alice Sebold’s source novel. (Healing For Healing For Peter Jackson directed the next mess.) For Ramsay fans, that whole subject is almost way too hard to think about — it’s painful to visualize the film that might have been, given Ramsay’s apparent-eyed sensitivity and ingeniousness. Here, instead of trying to carry out a soft-shoe around the hallowed bond between moms and sons, Ramsay treads fearlessly into some frightening, unspoken territory. When Swinton comes face-to-face with this particular defiant toddler, it’s apparent which has the surface of the hands, plus it’s not because she hasn’t read all the being a parent books. The fact Swinton can be a resolute, efficient actress only helps to make the point more stark. When among her boy’s which makes it through sufferers — he’s in the mobility device — approaches her all the time to request her how she’s doing (nobody within the old neighborhood might even speak with her), she responds to his kindness with near-quiet yet never-ending gratitude. And Swinton playing a girl searching for kindness is a factor to behold. [Editor’s note: This review came out earlier, in the slightly different form, in Stephanie Zacharek’s Cannes Film Festival coverage.] Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.

The X Factor's Astro: "I'm Gonna Be Worldwide!"

Astro After his elimination from The X Factor on December 1, 15-year-old Brooklyn rapper Brian Bradley, aka Astro, stopped by TV Guide Magazine's office to chat about his performances during the competition, advice he'll always remember from the judges, and his plans for the future. TV Guide Magazine: What was the best part of being on The X Factor?Astro: The best part of the experience was basically being able to perform in front of millions of people each week at such a young age. And basically being able to perform in front of four great people in the business, that was great. It's something that a lot of my friends that are trying to break into the music business would only dream of, performing in front of Paula [Abdul], L.A. [Reid], Nicole [Scherzinger] and Simon [Cowell]. That was awesome. TV Guide Magazine: You wrote a lot of original lyrics to songs you performed. What was the process like with your mentor, L.A. Reid?Astro: If they didn't let me rewrite the songs then I would've dropped out a long time ago. Basically I had to fight for that right a little bit to be able to rewrite the songs, but it worked out in my favor. And L.A., he understood me more than most of any of the other judges, than all of the other judges, actually. He let me write my stuff, he let me be me, and I respected that. We picked all the songs together. Some days we'd sit in a room and pick a song. Other days he'd have the song ready and I'd just write it. A lot of times he'd ask for changes, I'd change my verses a few times but it came out great each time so I didn't have a problem. TV Guide Magazine: Was the whole experience what you expected it to be?Astro: It was more than what I expected it to be because to be honest I thought they were going to say you can't write your own stuff, you have to recite the lyrics like everyone else. The fact that they allowed me to write my own music, I appreciate that a lot. I didn't expect it to be like that at all. I wasn't going to try out for X Factor. I wasn't trying to be in a contest. My mom convinced me to audition for The X Factor. And I just said, 'O.K., let me see what it's about. $5 million? Might as well try'. I tried out and it worked out. I got through top seven out of 200,000 so I'm proud. TV Guide Magazine: What was your most challenging performance?Astro: The hardest song was probably Michael Jackson's "Black and White." It's such a powerful song that you don't want to end up saying the wrong thing in a song like that. It took me, like, a day and a half to finish the song completely. TV Guide Magazine: And the easiest?Astro: The easiest was "Jump." Basically I wasn't rapping about anything, if you listen to it. I was just doing what a normal, 2011, modern-day rapper does: rapping about nothing. It was just me having fun. That was the very first one I did. TV Guide Magazine: How has this whole experience affected you?Astro: Now I know that people are watching. Diddy tweeted me when I did the "Missing You" song, and that was crazy. It feels amazing now because I've been doing music since a long time ago. I'm the type of dude that'll make a song and it'll be one of my best songs and I'm like, dang, nobody's even listening. I've only got 4,000 followers. I'd just get mad. I wouldn't even want to put the song up, it's a waste. Now when I put a song up, I've get 150,000 followers, so now if I post a song on Twitter I'll get like 10,000 downloads, at least. So I know people are actually listening now, so it feels much better that people are actually recognizing who I am, instead of just seeing some kid from Brooklyn. TV Guide Magazine: Any advice from the judges that you'll remember?Astro: L.A. said, 'Never let 'em see you sweat.' Basically never let anyone see what gets you mad because that's how they figure out how to annoy you and just pick at you and just get you angry. So I just try to stay a little calmer now because of that. TV Guide Magazine: What are your plans for the future?Astro: I plan to release just as much music as I can. Movies, I should be working on a cartoon, reality show, everything. Everything I could do, like a clothing line, like a lot of things are in the works. I plan on just performing everywhere. I'm gonna be worldwide! -Sydney Bucksbaum Subscribe to TV Guide Magazine now!

Tennis Ace Novak Djokovic To Complete Cameo In Expendables 2

He's perhaps the very best actor around the ATP Tour together with his place-on impersonations. Now world’s No.1 tennis player Novak Djokovic is placed to create his professional acting debut having a cameo within the Expendables 2. Djokovic has showed up in Bulgaria in which the follow up is filming. The tennis champion will have themself within the movie after you have an invite from producer Avi Lerner. Djokovic, who won 3 from the 4 tennis Grand Jams this season throughout among the best tennis seasons on record, is really as well-known for his tennis abilities because he is perfect for his showmanship. Captured, he shot a parody of tennis player Maria Sharapova’s Mind commercial, compelling the tennis equipment manufacturer to create a new commercial featuring both Djokovic because the Russian beauty and Sharapova herself. Below is really a clip in the 2007 US Open where Djokovic was requested to perform a handful of impersonations of fellow tennis gamers.

Regis Philbin Plotting TV Return With Family Talent Show

Regis Philbin So much for taking a break. Regis Philbin is already planning his next TV project less than two weeks after leaving his longtime post on Live! With Regis and Kelly. Social Power Rankings: Who should replace Regis Philbin? "We're contemplating a show that is sort of a talent show, but it involves the whole family," Philbin, 80, tells The NY Post. A family competition "is something new in our business. It's going to be on primetime when it happens." Philbin recently formed RAF Productions with former Live! director Barry Glazer, City Island executive producer Edward Walson and Cort Cassidy. The longtime TV personality also said he's been approached about other projects, such as bringing back the variety show format. "[An] entertainment type of show would appeal to me," Philbin said. "Almost a variety show. In our business you don't want to say variety because it's frowned upon now, but something with people who are performing." Regis Philbin reveals he's leaving Live! over contract issues Philbin reiterated again that he is not retired, he's just "moving on" after leaving Live! "It wasn't that ABC didn't try to negotiate with me," he said. "As it happens in this business, sometimes you don't really like the terms so you just walk away with that in mind."

The Dreams of Martin Scorsese

A recurring Martin Scorsese nightmare goes like this: He is told that he must start shooting a movie. But he isn't informed what the movie is. He doesn't know what it's about or who the actors are. He only knows that the producers are pushing him to get this thing started, now. A dutiful artist, Scorsese dives in with help from frequent first assistant director Joe Reidy, only to notice that standing to the side of the set is a very famous older director. This mystery director is someone real, and great, but Scorsese, upon waking, never remembers who it is. The guy's presence unnerves him, and he says so to the producers. "Don't worry," he's told. "He's just here to observe. It's your thing.""But I knew that he was probably going to take over what I was doing," Scorsese continues in hushed tones. "And slowly but surely, they say, 'You know, if you could just sit down, we'll let him handle this scene. ' "Scorsese guffaws at the anxiety-drenched punch line and shakes his head. He's able to see the humor in it. At least it's not the dream where he speaks to his late mother, or the one in which his long-departed bichon frise Zoe, who often sat in his lap while he directed "Goodfellas," is found bloodied in the street -- both of which are more likely to bring him to tears. But it's undeniably a rich vision to be bouncing around the subconscious of a 69-year-old artist who long since has established himself as one of the greatest filmmakers of the modern era.The anonymous dream director could be Ingmar Bergman, Akira Kurosawa, Michael Powell, Satyajit Ray, Orson Welles, Jean Renoir -- any of the icons Scorsese has revered and chased with his art for decades. But the insecurity on display is clearly tied to what he and his fellow '70s visionaries felt was a "denigration" of their film-school origins by the previous generation of self-made greats -- the same men and women whose work he's made it his life's mission to preserve. It's no doubt also tied to that greatest of mysteries: What legacy can he himself hope to leave behind?Sitting in the downstairs family room of his Upper East Side brownstone on a crisp Sunday afternoon in November, Scorsese is as buoyant and thoughtful as always. He's just grabbed a quick nap. His wife, Helen Morris, a producer, is upstairs. Their soon-to-be-12-year-old daughter Francesca is at a friend's. His West Highland terriers Flora and Desmond are sequestered in the kitchen (but only after he's given each a playful rub). And he's enjoying the briefest of breaks from putting the final touches on the 3D effects in his latest film, "Hugo," opening Nov. 23.If Scorsese were to have that terrible dream today, the man looking over his shoulder could be Georges Melies, one of the fathers of the moving image and a weighty personal and thematic presence in "Hugo." In the movie, which takes place in 1931 Paris, Melies is a neglected and bitter old man, an enthusiastic innovator whose magical work has been forgotten and destroyed, only to be rediscovered through his encounters with a young orphan named Hugo Cabret. Based on Brian Selznick's Caldecott-winning 2007 novel "The Invention of Hugo Cabret," the $100 million-plus 3D movie is a grand slam of Scorsese preoccupations: the transformative power of cinema, its unique ability to connect people, the need to preserve old movies and the truth that an artist's legacy lives in those who treasure the work. Over the years, Melies has become a mystery himself, and even film buffs often don't have a grasp of just how profound his contributions to cinema were, despite their efforts to piece together the scraps of his legacy. In this, he could not have better cultural archaeologists than Selznick and Scorsese."I loved that all of human history was for him the history of film," says Selznick, who first talked cinema history with the director in London before filming began. "Of course, Scorsese has been responsible for restoring the lost legacies of groundbreaking filmmakers. He is in the position of pointing the way for the public, showing us who has been forgotten and overlooked."Scorsese traces his devotion to film preservation and restoration back to the emotional limitations of his childhood. The younger of two brothers in a very Old World immigrant NY family that lived in Queens and then the Lower East Side tenements, he repeatedly was told to keep his childish opinions to himself. As an asthma sufferer, he was always sick, which meant sports and pets were off limits, leaving him with an external and internal life that only could be opened in a movie theater. "It really opened up things that I wasn't allowed to say much," Scorsese says. "I wasn't allowed to express my feelings about anybody or anything. These emotions and these questions that were being asked in my head and in my heart, a lot of this was being addressed in the films I saw."From a very early age, he was watching everything from "Singin' in the Rain" to Italian neo-realist cinema. His Aunt Mary once took him and a cousin to see a rerelease of "Bambi" at the Forest Hills Theater in Queens, only to have to first sit through the 1947 film noir "Out of the Past." "I was way too young for that one," Scorsese says with an eye roll. "I was saying to my aunt, 'When's 'Bambi' coming on?' She said, 'Shut up, this is good.' The imagery stayed with me, that crazy poetic mood. It was really art." But "On the Waterfront" broke through in a way that none of the others had before -- he saw his hard-working uncles and cousins in every frame of Elia Kazan's 1954 masterpiece. "It was literally as if the camera was in my apartment or on the street corner with us," he says. "All of this meant a great deal to me and connected me with the outside world."By his mid-20s, Scorsese had graduated from film school and was looking to put his own experiences on the screen, most notably in his 1973 crime drama "Mean Streets." But the fallout of expressing his personal world in public ended up stinging him. "I had repercussions on that," he says in a clipped manner that suggests the memory is still fresh for him. "Family and friends who were insulted."Once he found his own voice as a filmmaker, he and peers like Steven Spielberg couldn't find decent prints of the movies that had fed them as kids, and they began a campaign to convince the studios that these classics had value. "They didn't realize that to a whole generation, these were more than just commodities," he says. "It was part of who we are. It was part of everyone who has any relationship with cinema. This is something we started to get militant about. 'You may own them,' I said. 'But in actuality, you're custodians for a culture.' "Scorsese's longtime editor Thelma Schoonmaker, who won Oscars for "Raging Bull," "The Aviator" and "The Departed," remembers his horror after a LACMA screening in the early 1970s of a film classic whose print had turned pink. "It just never had occurred to him that these masterpieces that he was learning so much from could possibly disappear," she says. "He was genuinely shocked. And ever since, that's become his great mission."In 1990, along with Spielberg, George Lucas, Francis Ford Coppola, Sydney Pollack and others, he formed the nonprofit Film Foundation, and in 2007 he created the World Cinema Foundation to extend the organization's restoration work to foreign films. "To pass it on, that's the key thing," he says. (His own prints, which number in the thousands, reside at the archive in the George Eastman House in Rochester, N.Y.) "It's about knowing the past. You don't get an accurate picture of history sometimes through film, but you get an accurate picture of the people who made it and what the world was like at that time and that place where they made it, their attitudes. It's very important."Important enough to wage a stealth campaign to educate his own preteen daughter. Despite the wall-to-wall bookshelves, the Robbie Robertson Stratocaster from "The Last Waltz" and the wooden Laurel & Hardy figurines, the downstairs family room is Francesca's turf. The Steinway she plays obscures a few of her artworks, and two parakeets that her dad complains ignore him provide a singsong background while she does her homework. Although he takes an iPod everywhere, Scorsese says he doesn't get to play his music down here. "Oh, no," he says with mock seriousness, "no, no," as if he were a scared flunky working for a mob boss. On occasion, he admits that he'll stroll through humming Cream's "Sunshine of Your Love" and get Francesca hooked.Their regular ritual has become Saturday afternoon movies that he screens for her and her friends. But how does he get a gaggle of girls to sit for serious cinema? "They don't know," he says, pointing out conspiratorially that you have to do it casually. "If you start them that young, they think this is normal." He bursts into laughter and claps his hands, clearly aware that he's foisting his own passion on them without remorse. "They'll never know." He gleefully explains how he lured them in with classic Disney animated films that he borrowed from the studio, then hit them with the original "The King and I," MGM musicals, "Twilight Zone" episodes and Westerns such as "Stagecoach," "My Darling Clementine" and "Shane." (And yes, she did watch "Out of the Past" with him one night on TCM while he gave commentary on the camera moves; her mother won't let her watch "Bambi.")Even in this fun daddy-daughter context, Scorsese is serious, thoughtful and specific about his approach, as if he's crafting an MFA cinema studies class for students at his alma mater, NYU's Tisch School of the Arts. He holds these little seminars in the screening room at his Sikelia Productions offices, rather than in the one at home, for one specific reason. "I have books and stacks of things around," he says, mildly pained at the potential disturbance of his OCD-established ways. "The next thing you know, everything has fallen down. Their legs go this way, they stretch out, they ruin everything. The thing is that I need to retrieve stuff! It has to be in a specific place. It may not make sense, but visually I know it's there."One byproduct of spending more time with young girls again -- Scorsese's two other daughters, Catherine and Domenica, are more than 20 years older -- is that it helped convince him to make a family film out of "Hugo." "You deal with them every day so that you're made to understand actually how they perceive the world around them, even from the level of their height," he says. "It's a different way of living entirely. But the thing about it is then [doing "Hugo"] seemed natural. It didn't seem like a stretch. Being around children, I'm very comfortable with them now."As it happens, Scorsese's birthday is just a day after Francesca's (hers is Nov. 16), and he feigns exasperation that she gets top billing on their annual combined party. "She gets all the attention now," he says. "I've taken her aside a few times, as they say. I gave her the word: Watch it." More seriously, he just walked one of his daughters down the aisle for the first time, and it hit him hard. His middle girl, Domenica Cameron-Scorsese, born right after he made "Taxi Driver," a product of his marriage to Julia Cameron, was married Nov. 11 in Chicago. The milestone has shaken him; his voice softens, and he fumbles to explain the feelings it brought up."It was very moving, but she's our little one," he says. "It was kind of surreal, I didn't quite understand that it was actually happening in real time. I still can't quite grasp it. This is very good for my daughter and everything; she married a sweet young gentleman. But it starts something new. Your concern is in a different way now for them. There's not much you can do. You can help however you can, but you're older, you'll be dying. You're not going to be around. And this is it."It's hard not to hear in that fatalism an echo of Scorsese's suspicions about the endurance of his own life's work, which now includes 30 features that have earned him eight Oscar nominations (and one win, for directing "Departed") for writing and directing since his 1967 debut, "Who's That Knocking at My Door." Self-deprecation to the contrary, somehow it's not hard to imagine film lovers cuing up "Taxi Driver" or "Goodfellas" centuries from now. Thirty years ago, "Kiss Me Deadly" director Robert Aldrich sent a letter after seeing "Raging Bull" that said, "In years to come, that'll be the one to be remembered." "I prize that letter," Scorsese says, then mulls the possibility with a mix of skepticism and hope."The reality is, for people who create anything, you always want to be remembered," he says. "You could be remembered for a year, a hundred years, you could be remembered for two thousand years, but eventually everything goes. You just have to accept that. First, it may not stand the test of time. And if it doesn't, you did the best you could. You may have affected certain people's lives -- maybe. You may have made people think differently. And that's what you were meant to do. And now it's over."But does he not think that he has achieved this with his movies? "No," he says, explaining that while his predecessors' work was fashioned in a true artistic atmosphere, the era that shaped his own films was more divorced from that kind of inspirational bedrock. "There was grown-up art all around them. Real art," Scorsese says. "They grew up in a different culture. I don't come from that culture. If I had made Bertolucci's "Before the Revolution," or "The Red Shoes" or "Chimes at Midnight." There were times when I thought I could. When you get to a certain age, you realize you may not, and you may never have.""It took 10 years before 'Raging Bull' was recognized as a significant film," says Schoonmaker. "He has experienced what it means for a great work not to be recognized. And he's seen so many of the masters he loved fall into oblivion, like Melies, so he's prepared for that. What's happened with his films is that they last, because they've got truth in them. Truth always lasts."Scorsese seems to acknowledge this, finally, after a meaningful pause, the parakeets providing their own chattering commentary quietly behind him. He leans forward, his meditative eyes swimming in the split pools of his thick bifocals. Then he says, "A lot of them that I admire, they wouldn't have made "Mean Streets" -- they couldn't have made "Mean Streets." What happens is, in wishing that you made those, you feed off of it. And it goes into something you're doing. And if the material is right, and if the actors are right, and the script is right, and you're in the right head to make it that's your wish come true. That's it."SCORSESE'S ADAPTATIONS "Hugo" (2011) | Paramount Screenwriter : John LoganAdapted from: "The Invention of Hugo Cabret" (2007) by Brian Selznick"Shutter Island" (2010) Paramount Screenwriter: Laeta KalogridisZero nominations |$294.8mworldwideAdapted from: "Shutter Island" (2003) by Dennis Lehane"Bringing Out the Dead" (1999) Paramount Screenwriter: Paul SchraderZero nominations |$16.8mworldwideAdapted from: "Bringing Out the Dead" (1998) by Joe Connelly"Casino" (1995) Universal Screenwriters: Nicholas Pileggi & ScorseseOne nomination |$116.1mworldwideAdapted from: "Casino: Love and Honor in Las Vegas" (1995) by Nicholas Pileggi"The Age of Innocence"1993 | Columbia Screenwriters: Jay Cocks & ScorseseFive nominations, one win |$32.3mworldwideAdapted from: "The Age of Innocence" (1920) by Edith Wharton"Cape Fear" (1991) Universal Screenwriter: Wesley StrickTwo nominations |$182.3mworldwideAdapted from: "The Executioners" (1957) by John D. MacDonald"Goodfellas"1990 | Warner Bros. Screenwriters: Nicholas Pileggi & ScorseseSix nominations, one win |$46.8mworldwideAdapted from: "Wiseguy" (1986) by Nicholas Pileggi"The Last Temptation of Christ" (1988) Universal Screenwriter: Paul SchraderOne nomination |$8.4mworldwideAdapted from: "The Last Temptation" (1953) by Nikos Kazantzakis"The Color of Money" (1986) Buena Vista Screenwriter: Richard PriceFour nominations, one win |$52.3mworldwideAdapted from: "The Color of Money" (1984) by Walter Tevis"Raging Bull" (1980) MGM Screenwriters: Paul Schrader & Mardik MartinEight nominations, two wins |$23.4mworldwideAdapted from: "Raging Bull: My Story" (1970) by Jake La Motta"Boxcar Bertha" (1972) American International Pictures Screenwriters: Joyce H. & John William CorringtonZero nominationsAdapted from: "Sisters of the Road" (1937) by Dr. Ben L. Reitman The Hollywood Reporter

You Know What's Awesome? This New Trailer For Shame

From Sideways to Little Miss Sunshine to Slumdog Millionaire and Black Swan, Fox Searchlight has long proven more than adept at marketing its awards-season wares. Thus the distributor seemed a logical choice to acquire Shame, the acclaimed sex-addict drama that was near-instantly presumed to be destined for an accursed NC-17 rating. But now Searchlight, continuing its “What, us worry?” campaign on behalf of the Steve McQueen-directed, Michael Fassbender-starring gem, may have hit its stride. The first trailer was fine and all, but it wasn’t until we got into poster territory that we all really saw the inspiration begin to crystallize. And now there’s this preview, replete with the head-exploding NC-17 green band from the MPAA ratings board and set co-star Carey Mulligan’s mournful “NY, NY.” It’s otherwise mostly silent, not so unlike many the most evocative bits of McQueen’s film — the subway flirtations seen here chief among them. Anyway, I love this. Shame opens Dec. 2 in limited release. VERDICT: Sold!