America's Got Talent Gets Premiere Date; Biggest Loser Slims Down to One-Hour Episodes

Howard Stern Howard Stern fans will officially get to see the shock-jock take his seat at the America's Got Talent judge's table on Monday, May 14 at 8/7c, NBC announced Wednesday.Talent will take over the two-hour timeslot from The Voice, which will air its two-night season finale on May 7 and 8.Speaking of The Voice, the show will begin its live performance rounds on Monday, April 2 at 8/7c, going head-to-head with ABC's Dancing with Stars. The show will also air a one-hour results show on Tuesdays, beginning April 3 at 9/8c. That change will force veteran NBC reality competition The Biggest Loser to slim down to one hour at 8/7c. Howard Stern named judge on America's Got TalentStern joins fellow Talent judges Howie Mandel and Sharon Osbourne. The talent competition was last summer's most popular show. Its finale drew 14 million viewers.Do you think Stern will make a good judge on America's Got Talent?

Kristen Bell Joins Some Women

She's also on for Disney's FrozenNow that she's finished aiding in order to save whales in Large Miracle, noted sloth aficionado Kristen Bell is searching to remain a vintage romantic score and acquire animated again, as she's signed onto both adaptation of Neil LaBute's Some Ladies and Disney's 'toon Frozen.Let's tackle the live-action gig first, shall we? Some Women finds Adam Brody just like a bloke near engaged and becoming married. Feeling the requirement to make amends having a couple of from the women he's injured over time, he visits several ex-female buddies around the type of heartbreak reunion tour.Bell will co-star as Bobbi, a girl who Brody left years formerly without any word. We predict there can be fireworks after they meet again. Jennifer Getzinger is aboard to direct the variation, which LaBute has handled themselves.Also on Bell's agenda can be a role in Disney's undertake the Snow Full story. Surf's Up director (and Disney veteran) Chris Buck is becoming accountable for the extended-gestating project, which changes Hendes Christian Anderson's mythic about Kay, whose ideas are warped when his heart and eyes are pierced by shards from the troll mirror. He becomes enamoured in the chilled Snow Full, but his childhood friend, neighbour and sweetheart Gerda still thinks they can be saved and sets on the pursuit to locate him.The Hollywood Reporter's story has Bell since the lead voice, but doesn't specify whether she'll be acting (and singing) since the Full or Gerda. And given how Twisted moved things around while using Rapunzel story, there's not sure yet on when the story might even feature everyone within the original tale. It's presently striving inside a late 2013 release date.Along with her approaching film work, including Movie 43 and Outrun, Bell remains trading her time one of the leads on Showtime comedy drama House Of Lies.

REVIEW: Jafar Panahi's This Is Not a Film Is a Potent Message in a Bottle

The annals of filmmaking are filled with stories of people who managed to make movies against all odds, without money, without shooting permits, without proper professional equipment. This Is Not a Film, the 75-minute film directed by Iranian filmmaker Jafar Panahi and Mojtaba Mirtahmasb that made its debut at Cannes last spring and is now, thankfully, arriving in theaters Stateside, may be the ultimate achievement in stealth filmmaking, considering that Panahi is currently serving a six-year jail sentence and has been banned by the Iranian government from making films for 20 years. And yet somehow he has made a movie that found its way first to one of the world's major film festivals, and now to other parts of the world: This Is Not a Film is a small but extremely significant message in a bottle. That metaphor is almost literal: The picture made its way to Cannes via a USB drive -- which was smuggled in a cake. The movie covers a day in Panahi's life as he's waiting to hear the results of his appeal. It was shot with a digital camera (manned by Mirtahmasb, a documentary filmmaker, who is also heard asking Panahi questions off-camera) and an iPhone (wielded, slyly, by Panahi, because how much harm can a little home movie do?). Mirtahmasb's camera captures the mundane details of Panahi's life as he makes and takes calls on his cell phone (including one from his lawyer), answers the door for the food-delivery guy, feeds some greens to his daughter's large, and surprisingly personable, pet iguana. From these mundane details spring all sorts of provocative, frustrated conversations about the nature of filmmaking under a repressive regime. At one point, Panahi reveals that he's going to tell the story of a script that he wrote before his arrest, which the authorities had refused to approve. With masking tape, he marks off a corner of his nicely furnished living room to serve as a makeshift set; he describes the actions of his main character, a suicidal young woman. Then he stops abruptly, realizing the futility of the enterprise: "If we could tell a film, then why make a film?" The moment is piercing for the way it cuts to the heart of Panahis plight: Here we have a gifted, dedicated filmmaker being kept from doing the thing he lives for. You may as well cut off his right arm though Panahi himself is too optimistic for that, never resorting to self-pity, at least here. And the fact that Asghar Farhadis A Separation managed to win an Oscar this past weekend something Panahi couldnt have known, of course, while this Not a Film was being made does raise the visibility of the restrictions and outright danger Iranian filmmakers face. In that context, seeing This Is Not a Film today is a slightly more hopeful experience than it was last May. Still, Panahis house arrest is cause for no ones joy. (No one outside the Iranian government, that is.) In the course of the day, we hear fireworks outside that sound like gunshots, part of a Persian New Year's celebration known as "Fireworks Wednesday" that's supposedly benign and celebratory but which, under current conditions, has the capacity to turn violent. A neighbor rings the doorbell of Panahi's apartment: She wonders if he'll watch her small, noisy dog for a few hours while she goes off to the fireworks, and though Panahi at first agrees, he calls her back just seconds later when the dog launches into a barking tirade. Panahi goes online, noting that his access to sites he might like to visit has been seriously curtailed. He turns on the television to catch news of the earthquake in Japan. In the film's final section, filmed by Panahi himself (now manning the professional camera and not the iPhone), an impromptu encounter with a young man who's filling in for the building's superintendent becomes a kind of mini-Panahi film. Earlier Panahi pictures like The Circle and Offside are deeply political movies that derive all their meaning from depictions of people's everyday lives, rather than from any contrived arrangement of abstract ideas. By the end of This Is Not a Film Panahi, going from floor to floor with this affable, photogenic guy (he's also a student) as he collects the residents' garbage, has turned the camera away from himself and out toward the world, even if that world is only an elevator and, later, a courtyard beyond which lies a blazing bonfire that may or may not be celebratory. This Is Not a Film is so technically modest that it almost isn't a film. Yet in its simplicity it's as direct as a laser beam, underscoring why Panahi is considered so dangerous by his country's government: The difference between just looking and really seeing is second nature to him. Editor's note: Portions of this review appeared earlier, in a slightly different form, in Stephanie Zacharek's Cannes Film Festival coverage. Follow Stephanie Zacharek on Twitter. Follow Movieline on Twitter.

Kimora Lee Simmons on Post-Baby Weight Loss: "I'm on the 'Fabulosity' Diet"

War film Act of Valor took home the top spot at this weekend's box office, grossing $24.7 million, according to Box Office Mojo. The movie, which stars mostly real active-duty Navy SEALs, edged out Tyler Perry's Good Deeds, both of which opened this weekend. Perry's film came in at No. 2 with an even $16 million. Read More > Other Links From TVGuide.com Dwayne JohnsonRachel McAdamsTyler PerryChanning TatumGood DeedsGoneGhost Rider: Spirit Of VengeanceSafe HouseThe VowJourney 2: The Mysterious IslandThis Means WarThe Secret World Of ArriettyWanderlustAct Of Valor

'Valor' shows grit at Friday B.O.

'Act of Valor'"Act of Valor" gave Relativity something to be proud of at yesterday's domestic box office, grossing $9 million.The film, which stars actual Navy SEALs recreating past missions, is gunning to win the weekend in the high-$20 million range, fueled by Relativity's two target demos: military and faith-oriented auds.Lionsgate's Tyler Perry-helmed "Good Deeds" came in second with $5.4 million. Perry's latest has serious competition vying for its two largest demos, with African American auds pulled toward holdover "Safe House" and religious auds pulled to "Act of Valor." Still, the Perry pedigree should keep "Good Deeds" in the high teens through Oscar Sunday.In a tight race for third, Sony/Spyglass' "The Vow" grossed $3.3 million yesterday, Warner Bros. "Journey 2: The Mysterious Island" grossed $3.2 million and Universal's "Safe House" grossed $3.1 million. The three healthy holdovers can look forward to grosses near $10 million for the frame.This weekend's other big openers are poised to disappoint. Uni opened laffer "Wanderlust" in 2,002 locations to a Friday gross of $2.2 million, while Summit brought Amanda Seyfried-starrer "Gone" to 2,186 locations for $1.7 million, putting pics in eighth and ninth place, respectively. However, studio risk on both films is remarkably low, so neither needs outstanding numbers for a successful return on investment. Contact the Variety newsroom at news@variety.com

'Valor' shows grit at Friday B.O.

'Act of Valor'"Act of Valor" gave Relativity something to are proud of at yesterday's domestic box office, grossing $9 million.The film, which stars actual Navy Closes re-creating past missions, is gunning to win the weekend within the high-$20 million range, fueled by Relativity's two target demos: military and belief-oriented auds.Lionsgate's Tyler Perry-helmed "Good Deeds" arrived second with $5.4 million. Perry's latest has serious competition competing because of its two biggest demos, with Black auds drawn toward holdover "Safe House" and religious auds drawn to "Act of Valor." Still, the Perry pedigree ought to keep "Good Deeds" within the high teens through Oscar Sunday.Inside a tight race for third, The new sony/Spyglass' "The Vow" made $3.3 million yesterday, Warner Bros. "Journey 2: The Mysterious Island" made $3.two million and Universal's "Safe House" made $3.a million. The 3 healthy holdovers can anticipate grosses near $ten million for that frame.This weekend's other large openers are poised to dissatisfy. Uni opened up laffer "Wanderlust" by 50 percent,002 locations to some Friday gross of $2.two million, while Summit introduced Amanda Seyfried-starrer "Gone" to two,186 locations for $1.7 million, putting photos in eighth and ninth place, correspondingly. However, studio risk on films is remarkably low, so neither needs outstanding amounts for any effective roi. Contact the range newsroom at news@variety.com

Gaumont ups TV activity

Because the box office success of "Intouchables" aided Gaumont become Gaul's top local film distributor a year ago, the 117-year-old French small-major may also be making waves in TV production, returning for the medium carrying out a decade-extended absence, with seasoned partners plus an ambitious first slate.Sidonie Dumas, Gaumont's chair since 2004, and Boss Christophe Riandee have re-launched a TV division in Paris after you have opened up up a La-based smallscreen arm a year ago.Gaumont has walked to the U.S. independent TV landscape with robust allies for instance CAA together with an employee of well-respected TV professionals, particularly Katie O'Connell, former professional V . p . of drama programming for NBC Entertainment, who heads the La division, Gaumont Intl. Television (GIT) and Erik Pack, a classic professional at British indie Energy, who helps secure European presales and scouts co-production options from Gaumont's London office."This complementary TV activity allows us to create bridges between France as well as the U.S.," Dumas states. It assists to Gaumont take full advantage of its catalog (Gaul's second finest library) in developing smallscreen series.As well as the mix-pollination allows the business to draw film company company directors with whom it already features a relationship to function on tv projects.French-Tunisian helmer Mabrouk El Mechri, whose French-lingo films happen to be produced by Gaumont since his directorial debut, "Virgil," in 2005, is writing "Superpower," a fantasy comedy skein created by Gaumont Television's Paris office for paybox Canal Plus.El Mechri most recently helmed Summit Entertainment's "The Cold Light of Day," searching for a U.S. release in April.Gaumont Television's controlling director Omar Brahimi states the business can also be developing an British-language series getting a Canadian co-producer for just about any French broadcaster which is working with GIT to discover a high-profile showrunner.GIT already has become a warm welcome within the worldwide marketplace, getting in showrunners Bryan Bigger("Pushing Daisies") to produce and professional produce "Hannibal," an hourlong drama using the character Hannibal Lecter and Michael Hurst ("The Tudors") for everybody inside the same capacity on six-hour miniseries "Madame Tussaud."Gaumont Intl. Television is searching to figures, styles and concepts that are relevant inside the U.S. and worldwide, O'Connell states.Dumas states GIT will probably be searching to produce a handful of series every year, offering talent a post sales on profits. It aims to limit risk by prefinancing nearly all a project's budget through tv producers, without always creating an plane pilot.GIT has pre-offered "Hannibal" to NBC, and O'Connell states her team gets conversations with worldwide partners."Madame Tussaud" remains noisy . development stage, and Cinemax Canada originates onboard just like a partner. GIT can have the project and material at MIP TV.Meanwhile, within the French film industry, Gaumont developed a giant advance this season: Their French business skyrocketed 209%, composed of almost 10% of local ticket sales and grossing 133.5 million ($177 million). "Intouchables" alone has already established 119.2 million in France. In Germany, with $32.8 million, the film ranks since the finest-grossing French film ever."The wealth of 'Intouchables' in France and abroad is important for people,In . Dumas states, "because it encourages us to build up and continue taking risks on many other original movies that could catch fire in your area after which it expand along with other areas."Although Gaumont's firstlook deal with U.S. producer Nick Wechsler, its partner on Massy Tadjedin's "Last Evening," isn't any more in place, Dumas states she's still trying to find original British-lingo material in film too.Gaumont recently greenlit two British-language films from popular French company company directors: Anne Fontaine's untitled drama romance toplining Naomi W and Robin Wright, and Jean Pierre Jeunet's 3d pic "T.S. Spivet." It's also merging with Wild Bunch to co-produce "Only God Forgives," Nicolas Winding Refn's lengthy looked forward to follow-around "Drive.""Current day companies are very flexible," Dumas states. "There's room for independent the kind of ours to are likely involved in backing worldwide driven films that European entrepreneurs are trying to find.Inch Contact the number newsroom at news@variety.com