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	<title>Entertainment &#187; Richard Corliss &#124; TIME.com</title>
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	<description>What’s good, bad and happening, from pop culture to high culture</description>
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		<title>Entertainment &#187; Richard Corliss &#124; TIME.com</title>
		<link>http://entertainment.time.com</link>
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		<title>The Past: After the Oscar-Winning A Separation Comes the Divorce</title>
		<link>http://entertainment.time.com/2013/05/17/the-past-after-the-oscar-winning-a-separation-comes-the-divorce/</link>
		<comments>http://entertainment.time.com/2013/05/17/the-past-after-the-oscar-winning-a-separation-comes-the-divorce/#comments</comments>
		<pubDate>Fri, 17 May 2013 19:50:10 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[a separation]]></category>
		<category><![CDATA[Ashgar Farhadi]]></category>
		<category><![CDATA[the artist]]></category>
		<category><![CDATA[The Past]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3540757</guid>
		<description><![CDATA[When Ahmad (Ali Mosaffa) clears customs at de Gaulle Airport, his estranged wife Marie (Bèrénice Bejo) speaks to him urgently on the other side of a glass partition. They communicate with sign language and words the audience can&#8217;t hear. If The Past (Le Passé) continued in that fashion for the next two hours, it might be an elaborate tribute to Bejo&#8217;s performance in The Artist, the virtually silent comedy that swept the Oscars in 2012. But this is the new drama from Ashgar Farhadi, the Iranian writer-director of A Separation, winner of last year&#8217;s other big Academy Award: Best Foreign-Language Feature. It&#8217;s very much a reprise of that film&#8217;s themes: grownups who tear their marriages apart, and the children who suffer in their wake. (READ: Corliss&#8217;s review of A Separation) After A Separation comes the divorce. Amad has returned to Paris, after four years back in Iran, to finalize the dissolution of his marriage to Marie, a pharmacist, so she can wed her current beau Samir (Tahar Rahim), a dry cleaner. However acerbic the Ahmad-Marie relationship must have been — at the crest of one argument, he asks, &#8220;Miss our fights, dear?&#8221; — the family tensions on display in Marie&#8217;s sprawling suburban house seem ready to ignite into a Syria-level civil war. Teenage Lucie (Pauline Burlet), Marie&#8217;s elder child by her first, Belgian husband, comes home only to stomp up to her room. Her opposition to Marie&#8217;s impending marriage are mirrored by Samir&#8217;s young son Fouad (Elyes Aguis), who wears his resentment like a conscientious objector&#8217;s badge of honor. Only Léa (Jeanne Jestin), Marie&#8217;s younger daughter by the Belgian, doesn&#8217;t lash out at her keepers. She quietly observes the combat from a neutral corner. The Pearl Harbor equivalent for all these hostilities is Samir&#8217;s wife Cécile, in a coma after swallowing detergent in a suicide attempt in his store. She was a chronic depressive, Samir insists — but what drove her to try killing herself? Had she learned of her husband&#8217;s affair with Marie? And if so, how? Did someone tip her off, through a phone call or<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3540757&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/c2a9-carole-bethuel-img_8904_s1-ok.jpg?w=240</featured_image>
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			<media:title type="html">The Past</media:title>
		</media:content>

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			<media:title type="html">Richard Corliss</media:title>
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		<item>
		<title>Richard Corliss Previews the Movies of Summer 2013</title>
		<link>http://entertainment.time.com/2013/05/17/richard-corliss-previews-the-movies-of-summer-2013/</link>
		<comments>http://entertainment.time.com/2013/05/17/richard-corliss-previews-the-movies-of-summer-2013/#comments</comments>
		<pubDate>Fri, 17 May 2013 09:45:41 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[2 Guns]]></category>
		<category><![CDATA[After Earth]]></category>
		<category><![CDATA[Before Midnight]]></category>
		<category><![CDATA[Despicable Me 2]]></category>
		<category><![CDATA[Elysium]]></category>
		<category><![CDATA[epic]]></category>
		<category><![CDATA[Fast and Furious]]></category>
		<category><![CDATA[Fast and Furious 6]]></category>
		<category><![CDATA[Frances Ha]]></category>
		<category><![CDATA[kick-ass 2]]></category>
		<category><![CDATA[Man of Steel]]></category>
		<category><![CDATA[Monsters]]></category>
		<category><![CDATA[Monsters University]]></category>
		<category><![CDATA[Much Ado About Nothing]]></category>
		<category><![CDATA[Now You See Me]]></category>
		<category><![CDATA[Pacific Rim]]></category>
		<category><![CDATA[R.I.P.D.]]></category>
		<category><![CDATA[The Bling Ring]]></category>
		<category><![CDATA[The Hangover Part III]]></category>
		<category><![CDATA[The Internship]]></category>
		<category><![CDATA[The Lone Ranger]]></category>
		<category><![CDATA[the wolverine]]></category>
		<category><![CDATA[This Is the End]]></category>
		<category><![CDATA[White House Down]]></category>
		<category><![CDATA[World War Z]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3540277</guid>
		<description><![CDATA[TIME&#8217;s movie critic presents a handy guide to this summer&#8217;s cinematic offerings, starting with the&#8230; SEQUELS FAST AND FURIOUS 6  Luke Evans joins Vin Diesel, Paul Walker and franchise enabler Dwayne Johnson in the all-American sports of crashing cars and pummeling rivals. The 2011 Fast Five unaccountably made one 10-best list (TIME’s), but that could have been a fluke of quality or of taste.  (May 24) THE HANGOVER PART III  Melissa McCarthy joins the infernal trio (Bradley Cooper, Ed Helms and Zack Galifianakis) for a third episode whose existence is required only by the $1-billion-plus worldwide box office of the first two. Might be time for an AA intervention. (May 24) THE WOLVERINE   Or: Hugh Jackman Goes to Japan. After the X-Men trilogy, his own 2009 spinoff and the briefest cameo in X-Men: First Class, the Clawed One faces the Silver Samurai (Will Yun Lee, one of People’s Sexiest Men Alive in 2007) in a Marvel smackdown directed by James Mangold (Walk the Line).  (July 26) KICK-ASS 2  Really? The 2010 film, about teenagers with superhero aspirations but no special superpowers, was smart fun that attracted only modest box-office crowds. Nicolas Cage, the nominal star first time around, is replaced by Jim Carrey; and director Matthew Vaughn serves as producer and paterfamilias to new writer-director Jeff Wadlow. But the original trio of teens — Chloe Grace Moretz, Aaron Taylor-Johnson and Christopher Mintz-Plasse — is back, so there’s hope that a small gem might blossom into a franchise. (Aug. 16) THE MORTAL INSTRUMENTS: CITY OF BONES   An urban-contemporary Twilight Saga crossed with the Underworld movies, Cassandra Clare’s novels about a New York girl discovering her inner power, and a host of demons trying to destroy her, aim for teen franchise gold. Lily Collins (Snow White in Mirror Mirror) is Clary, the half-angel, all-warrior heroine.  (Aug. 23) REBOOTS MAN OF STEEL  The Superman saga gets its latest reboot from director Zack Snyder, climbing out of the Sucker Punch doghouse, and producer Christopher (Dark Knight) Nolan. With Henry Cavill as the Kryptonian muscleman, Amy Adams as Lois Lane and Russell Crowe as Jor-El (Brando<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3540277&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/2418_fpt_00038rv3.jpg?w=240</featured_image>
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			<media:title type="html">Fast &#38; Furious 6</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
	</item>
		<item>
		<title>Lock Up Your Daughters! Part 1: Sofia Coppola&#8217;s The Bling Ring</title>
		<link>http://entertainment.time.com/2013/05/16/lock-up-your-daughters-part-1-sofia-coppolas-the-bling-ring/</link>
		<comments>http://entertainment.time.com/2013/05/16/lock-up-your-daughters-part-1-sofia-coppolas-the-bling-ring/#comments</comments>
		<pubDate>Thu, 16 May 2013 20:16:39 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Emma Watson]]></category>
		<category><![CDATA[Sofia Coppola]]></category>
		<category><![CDATA[The Bling Ring]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3540586</guid>
		<description><![CDATA[The first full day of Cannes screenings featured two films — Sofia Coppola&#8217;s The Bling Ring and François Ozon&#8217;s Jeune &#38; Jolie — about middle-class teenage girls who chose a life of crime. Our reviews follow. Sofia Coppola has fashioned a career chronicling the lives of the idle rich. The 2002 Lost in Translation, her most agreeable film, plopped an American movie star (Bill Murray) in a Tokyo hotel, where his anomie was briefly upstaged by a meeting with a restless young wife (Scarlett Johansson). Coppola&#8217;s 2010 Somewhere was set in Hollywood&#8217;s Chateau Marmont: another disaffected movie actor (Stephen Dorff), another intervention from a young woman, this time his daughter (Elle Fanning). In between came the 2006 Cannes entry, Marie Antoinette, in which Coppola reimagined the teen Queen of France (Kirsten Dunst) as a pampered girl obsessed with her possessions. As I wrote then: &#8220;The spirit here is less the divine decadence of Paris, France, than the spoiled shallowness of Paris Hilton.&#8221; (READ: Corliss&#8217;s review of Sofia Coppola&#8217;s Marie Antoinette) By a coincidence found only in the movies, the hotel heiress and fundamental icon of 21st-century celebrity — she&#8217;s famous for being notorious — is the patron saint of The Bling Ring, Coppola&#8217;s take on the Calabasas, Cal., high-schoolers who robbed some $3 million from the Hollywood homes of Hilton, Lindsay Lohan, Orlando Bloom, Rachel Bilson and Audrina Patridge. That some of these glamorati were stars of reality TV was in synch with the blond ambitions of the perps; one of them, Alexis Neiers, had costarred with her mother and sisters in the E! Channel series Pretty Wild. (&#8220;Episode One: Alexis&#8217;s modeling career is endangered when she is arrested on charges of participating in a burglary ring.&#8221;) Neiers&#8217; Wikipedia entry describes her as &#8220;a television personality, aspiring model and convicted felon.&#8221; I&#8217;m guessing she&#8217;s equally pleased with all three designations. In the Coppola version, based on Nancy Jo Sales&#8217; Vanity Fair article on the gang, Rebecca (Katie Chang), a pretty, poised student at Indian Hills High School for troubled teens, befriends Marc (Israel<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3540586&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/the-bling-ring-the-bling-ring_rgb.jpg?w=240</featured_image>
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			<media:title type="html">The Bling Ring</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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	</item>
		<item>
		<title>Star Trek Into Darkness: The Young and the Reckless</title>
		<link>http://entertainment.time.com/2013/05/13/star-trek-into-darkness-the-young-and-the-reckless/</link>
		<comments>http://entertainment.time.com/2013/05/13/star-trek-into-darkness-the-young-and-the-reckless/#comments</comments>
		<pubDate>Mon, 13 May 2013 19:01:26 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Alice Eve]]></category>
		<category><![CDATA[Anton Yelchin]]></category>
		<category><![CDATA[Benedict Cumberbatch]]></category>
		<category><![CDATA[Bruce Greenwood]]></category>
		<category><![CDATA[Chris Pine]]></category>
		<category><![CDATA[Drat Abnormal Icon]]></category>
		<category><![CDATA[Gene Roddenberry]]></category>
		<category><![CDATA[J.J. Abrams]]></category>
		<category><![CDATA[John Cho]]></category>
		<category><![CDATA[Karl Urban]]></category>
		<category><![CDATA[Peter Weller]]></category>
		<category><![CDATA[Simon Pegg]]></category>
		<category><![CDATA[Star Trek Into Darkness]]></category>
		<category><![CDATA[zachary quinto]]></category>
		<category><![CDATA[Zoe Saldana]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539793</guid>
		<description><![CDATA[Those madcap galoots, Captain James T. Kirk (Chris Pine) and &#8220;Bones&#8221; McCoy (Karl Urban), are trying to escape a band of chalk-faced aboriginals on the Class-M planet Nibiru. Having broken a Starfleet rule by intervening in a prehistoric civilization, they run for their lives, like Bob Hope and Bing Crosby hightailing it out of Zanzibar after one of their schemes went kaflooey. Reaching a cliff, with the natives in angry pursuit, Jim and Bones leap desperately toward the water far below. Now they&#8217;re Butch and Sundance, in every way except for yelling, &#8220;S—!&#8221; as they plummet to safety. They&#8217;re just one Enterprise crew member short of being the Three Stooges. Actually, Moe — Mr. Spock (Zachary Quinto) — is trapped nearby in an erupting volcano, its spewing lava reminiscent of the kitsch special effects from the 1940 One Million B.C., but in 3-D and gaudy color. Kirk, back on the Enterprise, ignores another Starfleet dictum and flies into the inferno to rescue Spock; the primitive Nibirians gape at the spacecraft with the same perplexed wonder as the apes at the 2001 monolith. When the Enterprise returns to Earth, Rear Admiral Christopher Pike (Bruce Greenwood) demotes Kirk to Starfleet Academy and separates him from Spock. Pike might be an exasperated homeroom teacher forced to keep two troublemakers apart — or a father regretting that he gave his reckless teen son the keys to the starship. (READ: Can the new Star Trek Make Science Fiction Fun Again?) Any prequel series to a movie franchise is obliged to imagine younger versions of famous characters. We know from the Star Trek TV series, spawned in 1966 by Gene Roddenberry, and from the six subsequent feature films starring William Shatner and Leonard Nimoy, that Kirk is the man of action, Spock the half-Vulcan half-man of thought. J.J. Abrams applied that dichotomy to his 2009 Star Trek reboot and now to the first sequel to the prequel, Star Trek Into Darkness. (Abrams has his plate full with revered sci-fi franchises. Disney has entrusted him with reviving Star Wars.) (READ: Mary Pols&#8217; review<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539793&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/movies/review-movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/01/76251355166072-hh-27766r.jpg?w=240</featured_image>
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			<media:title type="html">Star Trek Into Darkness</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
	</item>
		<item>
		<title>The Best Man: Gatsby Starts Big, Finishes Second to Iron Man 3</title>
		<link>http://entertainment.time.com/2013/05/12/the-best-man-gatsby-starts-big-finishes-second-to-iron-man/</link>
		<comments>http://entertainment.time.com/2013/05/12/the-best-man-gatsby-starts-big-finishes-second-to-iron-man/#comments</comments>
		<pubDate>Sun, 12 May 2013 20:08:16 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Box Office Report]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Baz Luhrmann]]></category>
		<category><![CDATA[F. Scott Fitzgerald]]></category>
		<category><![CDATA[Furious 6]]></category>
		<category><![CDATA[Great Gatsby]]></category>
		<category><![CDATA[Iron Man 3]]></category>
		<category><![CDATA[Iron Man Three]]></category>
		<category><![CDATA[leonardo dicaprio]]></category>
		<category><![CDATA[No One Lives]]></category>
		<category><![CDATA[Sarah Polley]]></category>
		<category><![CDATA[Star Trek Into Darkness]]></category>
		<category><![CDATA[Stories We Tell]]></category>
		<category><![CDATA[The Great Gatsby]]></category>
		<category><![CDATA[Tyler Perry]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539767</guid>
		<description><![CDATA[Handsome Jay Gatsby stares hopefully across the bay at the green light that represents his great love, Daisy Buchanan; he comes tantalizing close to his dream but can&#8217;t quite possess it. Just so with Baz Luhrmann&#8217;s The Great Gatsby. This 3-D adaptation of the F. Scott Fitzgerald novel, starring Leonardo DiCaprio as Gatsby, earned a near-great $51.1 million in its debut at the North American box office, according to preliminary studio estimates — a number far above its predicted gross, but not enough to dethrone last week&#8217;s winner, Iron Man 3, which took in $72.5 million. Gatsby may be the best man everyone talks about, but IM3 remains the undisputed groom. The second weekend in May is traditionally when ambitious films with perceived marketing problems are served up as dessert for the Marvel Studios movies that opened a week before. The best that these Mother&#8217;s Day releases can aspire to is second place. Last year, Dark Shadows — another pop-culture reclamation project with a big star (Johnny Depp) and a famously eccentric director (Tim Burton) — pulled in just $29.7 million behind the behemoth that was The Avengers. In 2011, Bridesmaids, $26.2 million, came in well behind Thor; in 2010, Robin Hood, $36 million, was a distant second to Iron Man 2; in 2008, What Happens in Vegas, $20.2 million, was behind the original Iron Man; and in 2007, 28 Years Later, grossed $9.8 million in Spider-Man 3&#8242;s wake. (READ: Richard Corliss&#8217;s review of The Great Gatsby) Warner Bros. had planned to release Gatsby in December 2012, when it would have basked in the pre-Oscar clamor and glamour. Moving the picture to this weekend was seen as a demotion. It&#8217;s a love story without much smooching, a gangster drama with only one shooting. Sure, the film boasted a noisy, anachronistic score by rap-master Jay-Z — but did people really want to see the movie version of a book they were forced to read in high school? (READ: Paula Mejia&#8217;s take on Jay Z&#8217;s Gatsby soundtrack) The online mavens who predict weekend grosses foresaw only<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539767&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Box Office Report</primary_category><primary_category_link>http://entertainment.time.com/category/movies/box-office-report/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/gg-06892rc.jpg?w=240</featured_image>
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			<media:title type="html">Image: The Great Gatsby</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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		<title>On Your Toes at Encores!: Dancing With the Real Stars</title>
		<link>http://entertainment.time.com/2013/05/10/on-your-toes-at-encores-dancing-with-the-real-stars/</link>
		<comments>http://entertainment.time.com/2013/05/10/on-your-toes-at-encores-dancing-with-the-real-stars/#comments</comments>
		<pubDate>Fri, 10 May 2013 21:01:31 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Theater]]></category>
		<category><![CDATA[Christine Baranski]]></category>
		<category><![CDATA[George Abbott]]></category>
		<category><![CDATA[George Balanchine]]></category>
		<category><![CDATA[Irina Dvorvenko]]></category>
		<category><![CDATA[Joaquin De Luz]]></category>
		<category><![CDATA[Karen Ziemba]]></category>
		<category><![CDATA[Kelli Barrett]]></category>
		<category><![CDATA[Lorenz Hart]]></category>
		<category><![CDATA[On Your Toes]]></category>
		<category><![CDATA[Randy Skinner]]></category>
		<category><![CDATA[Richard Rodgers]]></category>
		<category><![CDATA[Rob Fisher]]></category>
		<category><![CDATA[Shonn Wiley]]></category>
		<category><![CDATA[Walter Bobbie]]></category>
		<category><![CDATA[Warren Carlyle]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539671</guid>
		<description><![CDATA[&#8220;Do you think my music will still be played 100 years from now?&#8221; asks the young composer. &#8220;If you&#8217;re still around,&#8221; his music teacher sarcastically replies, &#8220;it will be.&#8221; This exchange is from On Your Toes, the 1936 show that brought together four Broadway legends: the songwriting team of Richard Rodgers and Lorenz Hart, librettist-director George Abbott, and choreographer George Balanchine. Seventy-seven years later, folks are still humming the show&#8217;s hit song &#8220;There&#8217;s a Small Hotel&#8221; and dozens of other Rodgers and Hart tunes. Will they still be played in 2036? If the world doesn&#8217;t blow up or go under, they will be. And if there&#8217;s any justice, Encores! will still be producing three concert revivals of Broadway musicals each year from now to infinity. Since 1994, at City Center on 55th Street, the musical theater&#8217;s brightest curators have mounted spiffy reboots that are usually among any season&#8217;s most appealing shows, new or vintage. Grand old films can be found on Turner Classic Movies and on thousands of DVDs, but a stage production dies on closing night. The mission and triumph of Encores! is to bring classic musicals back to life, as they were originally scored, with the finest contemporary directors and actor-singers as loving curators. Five of the series&#8217; 60 shows have featured Rodgers and Hart scores: Pal Joey (1995), The Boys from Syracuse (1997), Babes in Arms (1999), A Connecticut Yankee (2001) and, this week through Sunday, the delightful, dance-crazy On Your Toes. (READ: Bravo! Encores!) For its 20th anniversary, Encores! has looked back on its own history, and that of the giant Moorish mausoleum that houses it. The year&#8217;s first production, of the 1958 Fiorello!, was a revival of  a revival — of the musical that launched the series in 1994 — and a reminder that New York City Mayor Fiorello LaGuardia had converted City Center in 1940 from a defaulted Shriners&#8217; hall into a theater for the performing arts. After a fresh production of the 1966 pop-art musical It&#8217;s a Bird&#8230;It&#8217;s a Plane&#8230;It&#8217;s Superman, Artistic Director Jack Viertel and the<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539671&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Theater</primary_category><primary_category_link>http://entertainment.time.com/category/fine-arts/theater/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/oyt.jpg?w=240</featured_image>
		<media:thumbnail url="http://timeentertainment.files.wordpress.com/2013/05/oyt.jpg?w=240" />
		<media:content url="http://timeentertainment.files.wordpress.com/2013/05/oyt.jpg?w=240" medium="image">
			<media:title type="html">On Your Toes</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
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		<title>Luhrmann&#8217;s The Great Gatsby: From Jazz Age to Baz Age</title>
		<link>http://entertainment.time.com/2013/05/09/luhrmanns-the-great-gatsby-from-jazz-age-to-baz-age/</link>
		<comments>http://entertainment.time.com/2013/05/09/luhrmanns-the-great-gatsby-from-jazz-age-to-baz-age/#comments</comments>
		<pubDate>Thu, 09 May 2013 18:30:54 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Baz Luhrmann]]></category>
		<category><![CDATA[carey mulligan]]></category>
		<category><![CDATA[Catherine Martin]]></category>
		<category><![CDATA[F. Scott Fitzgerald]]></category>
		<category><![CDATA[Joel Edgerton]]></category>
		<category><![CDATA[leonardo dicaprio]]></category>
		<category><![CDATA[The Great Gatsby]]></category>
		<category><![CDATA[Tobey Maguire]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539542</guid>
		<description><![CDATA[The Great Gatsby. The title raises two immediate questions, one of which is easily answered. Why is Gatsby great? Because F. Scott Fitzgerald&#8217;s 1925 novel embraces all the urgencies of the decade he dubbed &#8220;the Jazz Age&#8221;: the fast cars and easy money, the plentiful booze (Prohibition made liquor cheaper) and available sex, the nexus of big business on Wall Street and in the underworld, all appraised in luscious prose. Selling only 20,000 copies in its first years of publication (Fitzgerald&#8217;s first two novels, The Far Side of Paradise and The Beautiful and Damned, each sold about 50,000), Gatsby now moves that many copies every month. The book stays in print, and in fashion, because it addresses, as scholar Matthew Bruccoli noted in the 2000 BBC documentary The Great Gatsby: Midnight in Manhattan, &#8220;the ways in which the American dream has rewarded its believers and betrayed its believers.&#8221; Eighty-eight years after its publication, Gatsby remains as modern, youthful and shimmering as the creatures in it. A second, thornier question: Why is Gatsby great? Jay Gatsby, a mysterious figure in Manhattan and Long Island lore, attracts thousands of revelers to his sensational parties either because the guests don&#8217;t know the source of his wealth or because they do, and that knowledge gives them the thrill of vicarious outlawry. Born James Gatz (&#8220;gat&#8221; was &#8217;20s slang for a gangster&#8217;s pistol) to a Midwestern family of no particular means, he reinvents himself as a bootlegger with a dandy&#8217;s suave manners. He accumulated all this swag and notoriety in hopes of winning back Daisy Fay, the girl he left behind in Louisville, and who is now married to the aristocratic brute Tom Buchanan. Nick Carraway, Daisy&#8217;s second cousin and the book&#8217;s narrator, sees greatness in Gatsby&#8217;s abounding hope. But to Tom, and perhaps to Daisy, Gatsby&#8217;s new money is tainted, and so is he. (READ: Our 1925 review of The Great Gatsby by subscribing to TIME) Any movie of Fitzgerald&#8217;s novel has to take Nick&#8217;s view: that Gatsby is the noble man and Tom the thug;<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539542&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/movies/review-movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/gg-08424r2.jpg?w=240</featured_image>
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			<media:title type="html">Great Gatsby</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
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		<title>Stark Love: Iron Man Three Grabs the Global Gold</title>
		<link>http://entertainment.time.com/2013/05/05/stark-love-iron-man-three-grabs-the-global-gold/</link>
		<comments>http://entertainment.time.com/2013/05/05/stark-love-iron-man-three-grabs-the-global-gold/#comments</comments>
		<pubDate>Sun, 05 May 2013 19:09:45 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Box Office Report]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Iron Man 3]]></category>
		<category><![CDATA[Iron Man Three]]></category>
		<category><![CDATA[Love Is All You Need]]></category>
		<category><![CDATA[Mud]]></category>
		<category><![CDATA[Robert Downey Jr.]]></category>
		<category><![CDATA[Shane Black]]></category>
		<category><![CDATA[The Avengers]]></category>
		<category><![CDATA[The Iceman]]></category>
		<category><![CDATA[The Place Beyond the Pines]]></category>
		<category><![CDATA[Tony Stark]]></category>
		<category><![CDATA[What Maisie Knew]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539213</guid>
		<description><![CDATA[The kids keep pestering Tony Stark about his last adventure, in The Avengers, but he doesn&#8217;t want to talk about it: he&#8217;s preoccupied with his brand-new world-saving mission. Tony needn&#8217;t have worried about the comparisons. Iron Man Three, starring Robert Downey Jr. as the brilliant, arrogant industrialist, earned $175.3 million at North American theaters, according to preliminary estimates by Marvel Studios and its parent company, Disney. That&#8217;s the second best-ever weekend debut, behind the $207.5 million for Marvel&#8217;s The Avengers exactly a year ago, but ahead of the $169.2 million scored by the previous runner-up, Harry Potter and the Deathly Hallows Part 2, in July 2011. [MONDAY UPDATE: According to final figures issued today, Iron Man Three earned $174.1 million at domestic theaters, to retain its all-time no. 2 status among weekend openers. It also exceeded The Avengers' 11-day worldwide take, and can claim the biggest two-weekend opening ever: $678.9 million. Pain &#38; Gain, 42 and Oblivion grossed a bit less than reported, Oz the Great and Powerful quite a bit more (up 16%). Among indie titles, The Iceman, Love Is All You Need  and What Maisie Knew all finished more than 5% below their Sunday estimates.] Internationally, the Stark Express was untoppable: $500.4 million in 11 days, beating the $450 million or so that The Avengers opened to last year. IM3 broke records in Russia, and throughout Latin America and East Asia. China alone accounted for $63.5 million since premiering Wednesday — its success spurred by three minutes of additional scenes in Mandarin with Mainland actress Fan Bingbing. When all the dollars, Euros, rubles and Renminbi are counted, and final figures are issued Monday, IM3 may have achieved the strongest worldwide opening of all time. (READ: Corliss&#8217;s review of Iron Man Three) Saturating the U.S.-Canada movie marketplace at 4,250 theaters (and on multiple screens at many venues), IM3 earned 45% of its take from the surcharged 3-D version and 9% in IMAX auditoriums. Its demographics mirrored those of The Avengers: 61% male, 45% under 25 years of age. (A further breakdown: 52% were couples, 27% families, 21% teens.)<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539213&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">RC review - CA-05482_R.jpg_cmyk</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
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		<title>Michael Shannon in The Iceman: A Stone-Cold Killer</title>
		<link>http://entertainment.time.com/2013/05/02/michael-shannon-in-the-iceman-a-stone-cold-killer/</link>
		<comments>http://entertainment.time.com/2013/05/02/michael-shannon-in-the-iceman-a-stone-cold-killer/#comments</comments>
		<pubDate>Thu, 02 May 2013 09:45:59 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Ariel Vroman]]></category>
		<category><![CDATA[Chris Evans]]></category>
		<category><![CDATA[Michael Shannon]]></category>
		<category><![CDATA[Ray Liotta]]></category>
		<category><![CDATA[Richard Kuklinski]]></category>
		<category><![CDATA[The Iceman]]></category>
		<category><![CDATA[Winona Ryder]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538496</guid>
		<description><![CDATA[A knock on the door interrupts Marty (James Franco), a minor entrepreneur of teen porn, in the middle of a photo session. His visitor, Richard Kuklinski (Michael Shannon), has come to kill him. When he sees Marty clasping his hands, Kuklinski instructs him to pray to God to save him. Silence from above. “I think God’s busy,&#8221; Kuklinski whispers. Blam! Cowering in the closet is the 17-year-old girl Marty was photographing. Kuklinski lets her go. “I don’t kill women and children,” he explains later. Even in the ninth circle of the New Jersey underworld, a man can have ethics. Question is, given the volatility of his gangland employer, can he afford them? (SEE: TIME&#8217;s Top 10 Pop-Culture Gangsters) The Iceman, from the Israeli-born director Ariel Vromen, is a B movie and proud of it. Based on Kuklinski’s more-or-less true story — after his 1986 arrest he claimed to have committed more than 100 murders, maybe as many as 250, and starred in three made-for-TV documentaries — this Mafia tale doesn’t aspire to the heights of a Godfather or the epic sprawl of The Sopranos. Vromen and cowriter Morgan Land are content to bring subtle shadings to the tale of a strange man in a dirty business. The Iceman presents but does not explain Kuklinski, leaving Shannon to dominate the character by his quiet, creepy presence. The craziest thing about Kuklinski is his devotion to his wife Deborah (Winona Ryder). When they meet, in 1964, he told her she was “a prettier version of Natalie Wood.” He may believe it. Over the next two decades he will do anything for Deborah and their two daughters, who (the movie says) know nothing of his real business. He says his job is “currency valuation,” which is true insofar as he values the currency he gets from killings to support his family. He’s also not lying when he tells Deborah, “You and the girls, that’s all I care about in the whole f—in’ world.” In a professional assassin, a soft heart is a soft spot, a weakness his enemies can exploit. (SEE: How<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538496&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">The Iceman</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
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		<title>Iron Man Three: Tony Stark Saves the World, Gets a Heart</title>
		<link>http://entertainment.time.com/2013/04/30/iron-man-three-tony-stark-saves-the-world-gets-a-heart/</link>
		<comments>http://entertainment.time.com/2013/04/30/iron-man-three-tony-stark-saves-the-world-gets-a-heart/#comments</comments>
		<pubDate>Tue, 30 Apr 2013 18:35:40 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Don Cheadle]]></category>
		<category><![CDATA[Guy Pearce]]></category>
		<category><![CDATA[Gwyneth Paltrow]]></category>
		<category><![CDATA[Iron Man 3]]></category>
		<category><![CDATA[Iron Man Three]]></category>
		<category><![CDATA[Jon Favreau]]></category>
		<category><![CDATA[Marvel comics]]></category>
		<category><![CDATA[Marvel Studios]]></category>
		<category><![CDATA[Rebecca Hall]]></category>
		<category><![CDATA[Robert Downey Jr.]]></category>
		<category><![CDATA[Shane Black]]></category>
		<category><![CDATA[Tony Stark]]></category>
		<category><![CDATA[Ty Simpkins]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538650</guid>
		<description><![CDATA[Many people have dreams where they fly through the air and suddenly, disastrously lose altitude. But for Tony Stark, whose invention of an airborne Iron Man suit made him a superhero, the image of a flying man falling signals something worse than an anxiety attack. It is a harbinger of career suicide. Not just Tony, the Mensa zillionaire played with such admirable arrogance by Robert Downey Jr., but the entire Iron Man franchise seemed on life support when Jon Favreau&#8217;s Iron Man 2 arrived in 2010. That pallid sequel existed only because the 2008 original was a worldwide smash — the economic imperative of many an action sequel. The first movie, also directed by Favreau, had a lot going for it, especially its making a hero of that peculiarly American species of capitalist genius who builds stuff, makes it move fast and earns a huge profit. That&#8217;s exactly what the Marvel guys, who expanded the characters from their comics into some sensational movie escapism, did for Hollywood. (READ: Corliss&#8217;s reviews of Iron Man and Iron Man 2) Last spring, Joss Whedon&#8217;s The Avengers partially restored Stark&#8217;s verve and luster, as well as selling $1.5 billion worth of tickets worldwide. Now director and co-writer Shane Black, whose name sounds as if it belonged to one of Tony&#8217;s suaver adversaries, really gets the franchise soaring with Iron Man Three (known in its advertising as Iron Man 3) and launches the summer blockbuster season with a movie of nifty thrills and ruthless sauciness. [  ***  Warning: Entering Spoiler Zone  ***  ] &#8220;Some call me a terrorist,&#8221; says the robed, bearded figure known as the Mandarin. &#8220;I say I&#8217;m a teacher.&#8221; This revived bin Laden commandeers American TV sets, and perhaps all social media, with threats dire but unspecified. They begin with a massacre in the forecourt of Hollywood&#8217;s Chinese Theater and escalate to a kidnapping of the U.S. President on Air Force One (which makes IM3 the third of four 2013 movies — after Olympus Has Fallen and G.I. Joe Retaliation and before this summer&#8217;s White<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538650&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/movies/review-movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/ca-05482_r_cmyk.jpg?w=240</featured_image>
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			<media:title type="html">RC review - CA-05482_R.jpg_cmyk</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
	</item>
		<item>
		<title>Marvel&#8217;s Pumping Iron Man Three Flexes Its Worldwide Muscles</title>
		<link>http://entertainment.time.com/2013/04/28/marvels-pumping-iron-man-three-flexes-its-muscles-round-the-world/</link>
		<comments>http://entertainment.time.com/2013/04/28/marvels-pumping-iron-man-three-flexes-its-muscles-round-the-world/#comments</comments>
		<pubDate>Sun, 28 Apr 2013 20:10:03 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Box Office Report]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Arthur Newman]]></category>
		<category><![CDATA[At Any Price]]></category>
		<category><![CDATA[Colin Firth]]></category>
		<category><![CDATA[Dennis Quaid]]></category>
		<category><![CDATA[diane keaton]]></category>
		<category><![CDATA[Dwayne Johnson]]></category>
		<category><![CDATA[Emily Blunt]]></category>
		<category><![CDATA[Iron Man 3]]></category>
		<category><![CDATA[Iron Man Three]]></category>
		<category><![CDATA[Kon-Tiki]]></category>
		<category><![CDATA[Mark Wahlberg]]></category>
		<category><![CDATA[Marvel Studios]]></category>
		<category><![CDATA[Matthew McConaughey]]></category>
		<category><![CDATA[Michael Bay]]></category>
		<category><![CDATA[Mud]]></category>
		<category><![CDATA[Pain & Gain]]></category>
		<category><![CDATA[Reese Witherspoon]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Robert Downey Jr.]]></category>
		<category><![CDATA[susan sarandon]]></category>
		<category><![CDATA[The Big Wedding]]></category>
		<category><![CDATA[The Reluctant Fundamentalist]]></category>
		<category><![CDATA[zac efron]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538472</guid>
		<description><![CDATA[&#8220;Their American dream is bigger than yours,&#8221; proclaim the ads for Pain &#38; Gain, the true-crime comedy about some Miami Beach bodybuilders. But Michael Bay&#8217;s satirical ode to greed was a 97-pound weakling that shivered in the mammoth shadow of Iron Man Three. The Marvel sequel, released by Disney, opened abroad to numbers that not only outmuscled Pain &#38; Gain, it also topped the overseas premiere of The Avengers, last year&#8217;s supersmash from the Marvel masterminds. Their global dream is bigger than anybody&#8217;s, and they know how to turn superhero fantasy into billion-dollar reality. For the second year in a row, the last weekend of April saw a movie that hadn&#8217;t opened in North America earn about 10 times as much as one that had. In 2012, The Avengers, which premiered in 39 foreign markets a week before its Stateside debut, amassed a record $185 million, dwarfing the $17.6 million earned by the domestic winner, Think Like a Man. This weekend, Iron Man Three, which opens May 3 in the U.S. and Canada, shattered The Avengers&#8217; offshore mark, registering $195.3 million in 42 territories, while Pain &#38; Gain won at home with a flabby $20 million, according to preliminary studio estimates. (READ: Richard Corliss&#8217;s take on The Avengers) The genius of the Marvel Studios&#8217; grand plan — which spent four years producing separate movies about the franchise&#8217;s comic-book characters Iron Man, The Incredible Hulk, Thor and Captain America before uniting the team in The Avengers — was not just to make a multi-hero megahit movie, or even a boffo series. It was to bring worldwide box-office luster to each individual superhero film to come after it. If the studio had any disappointment with the 2008 and 2010 Iron Man movies, starring Robert Downey Jr., as Mensa industrialist Tony Stark, it was that they grossed most of their money in the U.S. and Canada. Even The Avengers earned only 59% of its $1.5 billion overseas. Why grouse about where the money comes from? Because most other billion-dollar-plus movies — Avatar, Titanic, the final Harry Potter episode, the most recent<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538472&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Box Office Report</primary_category><primary_category_link>http://entertainment.time.com/category/movies/box-office-report/</primary_category_link><letterbox>1</letterbox><featured_image>http://timeentertainment.files.wordpress.com/2013/04/167372821.jpg?w=240</featured_image>
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			<media:title type="html">From Left: Actors Gwyneth Paltrow and Robert Downey Jr. arrive at the premiere of Walt Disney Pictures&#039; Iron Man 3 at the El Capitan Theatre in Hollywood on April 24, 2013.</media:title>
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		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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		<title>Michael Bay&#8217;s Pain &amp; Gain: The Second Time as Farce</title>
		<link>http://entertainment.time.com/2013/04/25/michael-bays-pain-gain-the-second-time-as-farce/</link>
		<comments>http://entertainment.time.com/2013/04/25/michael-bays-pain-gain-the-second-time-as-farce/#comments</comments>
		<pubDate>Fri, 26 Apr 2013 03:30:45 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Anthony Mackie]]></category>
		<category><![CDATA[Christopher Markus]]></category>
		<category><![CDATA[Dwayne Johnson]]></category>
		<category><![CDATA[Ed Harris]]></category>
		<category><![CDATA[Mark Wahlberg]]></category>
		<category><![CDATA[Michael Bay]]></category>
		<category><![CDATA[Pain & Gain]]></category>
		<category><![CDATA[Pete Collins]]></category>
		<category><![CDATA[Stephen McFeely]]></category>
		<category><![CDATA[Tony Shalhoub]]></category>
		<category><![CDATA[Transformers]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538248</guid>
		<description><![CDATA[Three Miami Beach musclemen, played by Mark Wahlberg, Dwayne Johnson and Anthony Mackie, hatch a plot to kidnap a rich guy and force him to sign over all his possessions to them. &#8221;Unfortunately,&#8221; we are informed at the beginning of Pain &#38; Gain, &#8220;this is a true story.&#8221; The truth — usually avoided by crime thrillers, but underlined with a crimson flourish in Michael Bay&#8217;s steroidal caper comedy — is that most criminals are stupid. If they were smart, they&#8217;d find a more respectable way to steal people&#8217;s money, like Bitcoin or Congressional lobbying. Instead, in this adaptation of Pete Collins&#8217; stranger-than-fiction report for the Miami New Times on the 1994-95 Sun Gym case, two people die, and two oafs wind up on Death Row. Film critics would argue that Bay has a rap sheet too. Among the charges: felonious bombast, cruel and unusual mismatched shots, wanton desertion of cinematic humanity, embrace of a military-industrial style of filmmaking, contempt for his movies&#8217; characters and their audiences — all adding up to grand-theft auteurism. That Bay is at the top of one connoisseur&#8217;s list of the 26 worst directors of all time (Ed Wood is No. 2) seems not to trouble him. &#8220;I make movies for teenage boys,&#8221; he has said. &#8220;Oh, dear, what a crime.&#8221; Actually, that&#8217;s no crime. Modern Hollywood has sired plenty of excellent action movies for young males; one of these, Iron Man Three, opens next week. Bay&#8217;s offense is that he has made, by any definition of cinematic artistry and technique, bad movies. They tap the laziest part of the audience&#8217;s brain, fill it with ugly clamor and leave it feeling not nourished but stuffed. It&#8217;s cheap sex for filmgoers&#8217; consumption and his profit. (READ: Corliss on Michael Bay&#8217;s Transformers: Dark of the Moon) Bay&#8217;s sponsors think that&#8217;s fine: the 48-year-old Angeleno is among the most reliable minters of box-office gold. His nine features, including Armageddon, Pearl Harbor and three Transformers smashes, have earned more than $4.5 billion worldwide, or nearly $6 billion in real dollars. So when he told the lords of Paramount<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538248&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/movies/review-movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/44921365570105-stackscash.jpg?w=240</featured_image>
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			<media:title type="html">Image: Pain &#38; Gain</media:title>
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		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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		<title>Tom Cruise Controls the Weekend with Oblivion</title>
		<link>http://entertainment.time.com/2013/04/21/tom-cruise-controls-the-weekend-with-oblivion/</link>
		<comments>http://entertainment.time.com/2013/04/21/tom-cruise-controls-the-weekend-with-oblivion/#comments</comments>
		<pubDate>Sun, 21 Apr 2013 18:29:58 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Box Office Report]]></category>
		<category><![CDATA[Movies]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3537852</guid>
		<description><![CDATA[He might not use his living-room couch as a trampoline when he hears the news, but Tom Cruise has to be pleased with the numbers for his new film Oblivion. The futurist drama, in which the 50-year-old Top Gun plays a pilot on desolate Planet Earth searching for secrets to his past, won the weekend by earning $38.2 million at North American theaters, according to the preliminary estimate of its distributor, Universal Pictures. If that number holds when the final figures are issued Monday, Oblivion will have registered the strongest first weekend of any non-franchise science-fiction movie since Christopher Nolan&#8217;s Inception in July 2010. [UPDATE: According to Monday's "actual" figures, Oblivion earned $37.05 million, or about 3% below the Sunday forecast. That was still enough to beat the openings for such post-Inception sci-fi movies as Cowboys &#38; Aliens ($36.4 million), Battle Los Angeles ($35.6 million) and Super 8 ($35.5 million). Of the weekend's 10 top-grossing movies, only The Place Beyond the Pines had an actual figure, $4.9 million, significantly higher than its Sunday estimate.] Hollywood handicappers knew that Oblivion, the only big new movie, would finish at No. 1. But in determining how much money it would earn, they were baffled. As Laremy Legel of Rope of Silicon noted on Thursday, &#8220;the two main tracking sources are a whopping $30 million apart on their calls for the weekend,&#8221; with ReelSource.com predicting a blockbusterish $56 million and MTC (Major Theater Chain) forecasting a timid $26 million. Today&#8217;s reported number more or less splits the difference, and Universal will take it — especially since Oblivion has already earned $112 million in 10 days abroad, for a quick worldwide stash of $150.2 million. (READ: Corliss&#8217;s review of Oblivion) The foreign market has long been Cruise&#8217;s vault; The Last Samurai, Knight &#38; Day, Mission: Impossible 4 and even the War-on-Terror talkathon Lions for Lambs all earned at least 70% of their total take abroad. The star&#8217;s own Mission: Quite Difficult has been to hold on to his stateside fans in the face of his age, tabloid-headline<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3537852&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Box Office Report</primary_category><primary_category_link>http://entertainment.time.com/category/movies/box-office-report/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/cruiseob.jpg?w=240</featured_image>
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			<media:title type="html">Tom Cruise</media:title>
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		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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		<title>Tom Cruise in Oblivion: Drones and Clones on Planet Earth</title>
		<link>http://entertainment.time.com/2013/04/19/tom-cruise-in-oblivion-drones-and-clones-on-planet-earth/</link>
		<comments>http://entertainment.time.com/2013/04/19/tom-cruise-in-oblivion-drones-and-clones-on-planet-earth/#comments</comments>
		<pubDate>Fri, 19 Apr 2013 04:52:06 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Jack Reacher]]></category>
		<category><![CDATA[Oblivion]]></category>
		<category><![CDATA[Rock of Ages]]></category>
		<category><![CDATA[Tom Cruise]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3537633</guid>
		<description><![CDATA[Earth, 2077. Sixty years earlier, alien invaders had blown up our moon, and an intergalactic battle ensued. &#8220;We won the war but lost the planet,&#8221; says Jack Harper (Tom Cruise), a kind of grease-monkey pilot whose job is to repair the drones that monitor desolate Earth while the rest of humanity lives in a remote space station. His coworker and assigned girlfriend Victoria (Andrea Riseborough) directs Jack&#8217;s flying sorties over the wreckage of Manhattan, which may literally be a no-man&#8217;s land. Yet as he lies in bed with Victoria, Jack has visions of another, mysterious woman (Olga Kurylenko), from his fantasies or his past. &#8220;I know you, but we&#8217;ve never met. I&#8217;m with you and I don&#8217;t know your name. I know I&#8217;m dreaming, but it feels like more that. It feels like a memory. How can that be?&#8221; And how is it that science-fiction films imagine the worst for our future while steeped in love-loss for our past? Perhaps because the genre blossomed, as literature and then cinema, in the late 1940s — the time of the Cold War and the first nuclear age — when our world&#8217;s two great powers played a deadly game of mutually assured destruction, and when fearing the prospect of human extinction was not paranoia, just common sense. It&#8217;s no wonder that any time before the Bomb seemed Edenic to sci-fi writers, readers and movigoers; any time after might spell The End. (SEE: TIME&#8217;s Top 10 Sci-Fi Movies of the 1950s) The same warm ache of nostalgia envelops the Jack of 2077, the hero of Joseph Kosinski&#8217;s oh-so-serious Oblivion, for the pre-invasion Earth of 2017. He stands at the top of the Empire State Building, most of it covered in sand and rubble, wanders through the caverns of the New York Public Library on 42nd Street (only eight blocks away from King Kong&#8217;s final perch but miraculously not buried) and patrols Yankee Stadium, scene of the very last World Series. He saves old books, a catcher&#8217;s mitt and baseball and some LPs from the<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3537633&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/movies/review-movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/31.jpg?w=240</featured_image>
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			<media:title type="html">Image: Oblivion</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>A Jackie Robinson Home Run: 42 Scores Big</title>
		<link>http://entertainment.time.com/2013/04/14/a-jackie-robinson-home-run-42-scores-big/</link>
		<comments>http://entertainment.time.com/2013/04/14/a-jackie-robinson-home-run-42-scores-big/#comments</comments>
		<pubDate>Sun, 14 Apr 2013 21:55:00 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Box Office Report]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[42]]></category>
		<category><![CDATA[Ben Affleck]]></category>
		<category><![CDATA[Bradley Cooper]]></category>
		<category><![CDATA[Chadwick Boseman]]></category>
		<category><![CDATA[charlie sheen]]></category>
		<category><![CDATA[David Zucker]]></category>
		<category><![CDATA[Derek Cianfrance]]></category>
		<category><![CDATA[Harrison Ford]]></category>
		<category><![CDATA[Jackie Robinson]]></category>
		<category><![CDATA[Lindsay Lohan]]></category>
		<category><![CDATA[Ryan Gosling]]></category>
		<category><![CDATA[scary movie 5]]></category>
		<category><![CDATA[Terrence Malick]]></category>
		<category><![CDATA[The Place Beyond the Pines]]></category>
		<category><![CDATA[To the Wonder]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3537278</guid>
		<description><![CDATA[In this weekend&#8217;s numbers game, the box-office box score reads like this: 42: 27 5: 15 In English, that translates to a lopsided win for 42, the inspirational biopic about Baseball Hall of Famer Jackie Robinson, over Scary Movie 5, the latest and likely last in the franchise of horror-film spoofs. 42 far exceeded the expectations of box-office handicappers to claim $27.25 million for this weekend&#8217;s top slot in North American theaters, according to Sunday estimates by Warner Bros., the Robinson film&#8217;s delighted distributor. Scary Movie 5, from Weinstein/Dimension, underperformed predictions by about the same amount: it opened to just $15.1 million. [MONDAY UPDATE: The final score, according to the "actual" box-office figures issued today, was $27.5 million for 42, $14.2 million for Scary Movie 5. The No. 1 film did better, by about $250,000, and the No. 2 did worse, by nearly a million. The stats for all other top-10 pictures were close to their Sunday estimates except for The Place Beyond the Pines, whose actual $3.865 million was 6% less than predicted. Among the micro-releases,Terrence Malick's To the Wonder grossed only $116,551 — a steep 11% below the $130,000 estimate.] On Apr. 15, 1947, Robinson trotted onto Brooklyn&#8217;s Ebbets Field as the first African-American in the 20th century to play major-league baseball. Because of his impact and the heroic stoicism with which he bore racial insults from some players and managers, the baseball hierarchy retired Robinson&#8217;s uniform number, 42, in 1997. (Today, only the Yankees&#8217; Mariano Rivera, whose major-league career began in 1995, still has that number on his back.) Tomorrow is the annual Jackie Robinson Day, when all players wear 42 in his honor. (MORE: Mary Pols&#8217; Review of 42) Enlisting Robinson&#8217;s 90-year-old widow Rachel as a consultant, producer Thomas Tull and writer-director Brian Helgeland (who scripted L.A. Confidential and Mystic River) took a risk by casting the little-known Chadwick Boseman as Robinson, with Harrison Ford as the ballplayer&#8217;s mentor, Brooklyn Dodgers boss Branch Rickey. Boseman was certainly less famous than the man who took the role in the 1950 B-movie The Jackie Robinson<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3537278&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Box Office Report</primary_category><primary_category_link>http://entertainment.time.com/category/movies/box-office-report/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/42d-02303r.jpg?w=240</featured_image>
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			<media:title type="html">42</media:title>
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		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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