Eric Roth, 1994 Oscar winner for writing the acclaimed classic hit “Forest Gump” would be writing the screenplay. He had already worked previously with De Niro on the 2006 film “The Good Shepherd”.

“Lombardi” is being developed under ESPN Films, Andell Entertainment, and the NFL. The film would be tackling Lombardi’s career in football since he started taking over the Green Bay Packers, the worst team in the NFL since 1959. Under his direction, the team went on mile-high to make miracles as they eventually turned from underdogs to instant champions.

The film would also peek into the longstanding rivalry between Lombardi and coach for the Dallas Cowboys Tom Landry. At present, there’s no word yet on who would be taking on the role of Landry.

“Lombardi” is scheduled tentatively to arrive in theatres the weekend before the Super Bowl of 2012.

It was way back in 1986 when the Canadian-actor received his breakout role for the film “Lucas”. There he took on the character of a nerdy and skinny student attempting to prove himself worthy to be part of the high school football team. Since then he appeared in major commercial hits such as the vampire movie “The Lost Boys”, “License to Drive” and “Dream a Little Dream”. In all these previous commitments, he co-starred with his trusted partner-in-crime, none other than Feldman. This was why he was coined with the famous title as “The Other Corey”.

Back then the actor had already admitted to fighting the battle with drug addiction. When his career met its downfall, he eventually had to file for bankruptcy as well as several trips to rehab. The actor then confessed that he was abusing not only alcohol but also cocaine, Valium, and other pills.

For the past years he had been struggling to make a comeback. Last year, he appeared in “Crank: High Voltage” and signing onto a number of indie film projects.

Kim Hye-ja takes on the role of a devoted partly obsessed single mother of a 27-year-old memory-impaired man-child, Do-joon (Won Bin). However as naive as he is, he masks the obvious fact he’s no ordinary guy. One night as he walks home drunk, he follows a schoolgirl for bit before she eventually disappears out of sight into a dark alley. Unfortunately, the following morning, the same girl was found murdered in an abandoned building. With the events of last night, circumstantial evidence quickly points a finger to the oblivious Do-joon. Eventually he becomes arrested for murder and with little persuasion from cops, he signs a confession quickly closing the case. However not for his mother who keep insisting that her beloved son could not possibly be guilty. After being ignored by the apathetic police force and the overpriced lawyers she hired, she decides to take the matter in her own hands by beginning an investigation herself. Along the quest, she is helped by Do-joon’s best friend, Jin-tae (Jin Goo). With desperation, she struggles to convince her soon to try and remember as much details from the night as possible. Unfortunately, it opens up and brings into the picture other earlier memories that pierce through mother’s heart.

Suspense never seemed this good as “Mother” takes viewers into a roller-coaster ride full of unexpected twists and turns. At the center of it all, the glue that keeps everything in place, is the bravura performance of Kim’s mother propelling the film from beginning to end. She transitions from manic to depressive easily and effectively through her very expressive eyes. Without even forcing it or exerting too much effort, she moves from one emotion to another flawlessly and naturally. One would get the impression first-hand that they’re not watching an actress but rather a real woman picked out from the street. The type of performance she gave off if brought in the world of Hollywood deserves no less than an Oscar award. Amazing as she is, Kim is the main reason people would want to see the movie.

Bong and his cinematographer Hong Kyung-Pyo also set the stage for Hye-Ja’s character to work at her best. Though she isn’t always the main focus on all shots, whenever she is seen in a frame, eyes instantly are drawn to her and what she might do next. Much of this style of filming is based on the concept of running the story through her eyes and point of view which makes the plot work nonetheless. Though suspicion on her sanity grows every minute into the film, audience still can’t help but side with her actions thanks to Joon-ho’s careful crafting of each scene and moment in her favor.

Looking into the storyline, at the very core and root of it all, this is a typical plot that could easily be converted into a cliche Hollywood thriller. But fortunately, Bong strays from the conventional by incorporating Korean traditions to make the film as unique and memorable against all the other common international thrillers. Instead of offering the usual unconditional motherly love, Bong goes overboard by presenting nihilism instead. No doubt this is a murderous tribute for Mother’s Day.

It’s long been three years since his previous “The Sopranos” cut to black. Since then, not much has been heard from Chase, its creator regarding his next move. Would it be a follow-up to his feature film or an entirely project altogether? All we know at present is Chase’s attachment to a deal to write and direct a movie under Paramount. Could it be the highly rumoured move to the big screen of Tony, Carmela, and Pauly Walnuts trio? That idea remains to be farfetched.

Reports confirm that the director has recently released very minor and minute details on his upcoming project. He describes is as a “music-driven, coming-of-age story” set in the ’60s. Working together with him as producer is Mark Johnson of “The Chronicles of Narnia”.

As vague as it seems, this description could mean many things. It can be an extremely violent type of ensemble similar to “American Graffiti” or an Oedipal romp through Woodstock. The director prefers to keep his works under the covers until the release date draws closer. However what we can assure is that no matter how Chase chooses to end the movie, surely it won’t be featuring any songs written or performed by Journey for the band was formed later in 1973.

Luckily for the hungry actress, she and husband Jesse James hit up the star-studded Vanity Fair party where Tom Hanks raved about the “off-the-scale great” cheeseburgers. The great buzz during the Vanity Fair was Hilary Swank’s “ravishingly revealing dress”. Apparently the star also famously dined on a late-night Astro Burger after her 2005 win for “Million Dollar Baby”.

Stars partied the night away including Best Actor winner Jeff Bridges who danced the night away with his “Crazy Heart” co-star Maggie Gyllenhaal to INXS’ “Need You Tonight”.

Meanwhile, another big winner, director Kathryn Bigelow proudly displayed her two Oscars from the Governors Ball straight to the Vanity Fair party. The first woman to ever win the honor of best director “wore a satisfied expression, and kept a careful eye on her twin statuettes.” On the red carpet of the Vanity Fair party, co-host Alec Baldwin commented that “The Hurt Locker’s” win was indeed “a surprise”.

Inside the venue, “worlds collided … when P. Diddy and Meryl Streep exchanged warm greetings as everyone in gawking distance broke out into big grins.” Diddy was later seen telling the cameras of Vanity Fair, “This is living the dream right here. I came from Harlem and now I’m at the Vanity Fair Oscar party.”

Also making it to the scene are the famed March Vanity fair cover girls Carey Mulligan, Abbie Cornish, Kristen Stewart, and Anna Kendrick. They were joined by real-life heroes pilot Sully Sullenberger, astronaut Buzz Aldrin, and the Tuohy family. Couples were also a sight to behold as Vanessa Hudgens and Zac Efron came hand-in-hand, “True Blood” sweethearts Stephen Moyer and Anna Paquin, Simon Cowell and fiancée Mezhgan Hussainy, and Liam Hemsworth and Miley Cyrus.

Completing the list for the Elton John bash are Victoria Beckham, Heidi Klum, Kate Bosworth, Jennifer Hudson, Kelly Osbourne, and Natalie Portman.

The night went off with a good start as surprisingly, the host of the previous Emmys, Neil Patrick Harris opened the show in a sparkly tux with a ditty about Hollywood duos. His showmanship and pizzazz had long established Harris as a hosting favourite. With a seamless mix of funny and fantastic up his sleeve, Harris would surely see more awards show seeking his services in years to come.

Continuing off the bedazzling opening were hosts Steve Martin and Alec Baldwin. A simple message from the duo served as warning of what was bound to happen to the stars: Nobody is safe from ridicule. Truth be told, it opened for a hilarious roast environment with monologue jokes being thrown into everyone’s direction from Meryl Streep down to even Zac Efron skewered alive. It gave the event its much-needed touch of edgy and excitement.

However much like the previous Oscars, the recurrent sickness has once again returned. Once the opening numbers and introductory awards are laid out, the event always manages to lose steam and appeal to millions of viewers. Apparently the solution to this long-term illness is simple: broadcast fewer more important awards.

With numerous awards cramming up the time, more reasonable and exciting showcases are prevented and limited to a certain number. Of course, everyone from the production crew would want to be recognized and honored on worldwide television but audiences simply don’t find interest in them. They’d rather get a long view of all their favourite Hollywood stars rather than unknown people from the background. It’s a truth that Oscars organizers are not open to take.

Despite this  drawback and the tedious presentation of the awards, what deserves much praise than any other was the way Oscars took the time to carefully honor the top-notch performances delivered by the stars. The longer vignettes allowed each nominee, whether star or an entire film itself, be recognized for the hard effort and attention the people have poured into making the project a reality. The Oscars didn’t fail to address the main reason for the event: talent and creativity.

The night’s most touching event however didn’t come from any recipient of an award. It came in the form of a tribute to late director John Hughes which was flawlessly crafted. Everyone got a glimpse of the intensity and soul Hughes’ injected into his films. The intimacy and dedication he brought to all his works were loved by all. It was impossible not to tear up especially when the family was recognized in the crowd. The Oscars gave justice to the man who would forever remain a legend on the industry.

After the heart-felt tribute, things got off on the wrong page with a weirdly strange tribute to horror movies showcasing clips from “Twilight”, “Beetlejuice”, and other movies that don’t exactly pass off as horror. Organizers might’ve misunderstood the meaning of horror by the simple appearance or a scary scene or random creature here or there.

Lastly, though news on the shortened speeches was a delight to many, nothing new was heard. Standing out with the best acceptance speeches delivered were Mo’Nique and Jeff Bridges. Naturally, as everyone had expected, Christoph Waltz, Mo’Nique, Jeff  Bridges, and Sandra Bullock took home statuettes. Kudos goes to Kathryn Bigelow who makes history as the first woman to ever win best director for “The Hurt Locker”.

Despite the crafty combination of live action and CGI, the film only managed to score a lukewarm consensus critic on Metacritic.com. “Alice” only scored 53 out of 100 with many critics pleading to see the separation between director Burton and Johnny Depp who had collaborated for the sixth time since “Edward Scissorhands”. However moviegoers obviously disagree to the harsh comments and in the coming days viewers would definitely be seen flocking more than 2,200 theaters playing the movie in 3D.

“Avatar” was run over by the success of “Alice” as it had to surrender its long hold on 3D theatres around the country where it earned a great majority of its first $170 million earnings. James Cameron’s record-breaking feature landed on the fifth place this weekend with a mere $7.7 million take.

Following suit, just two days ago, rumors surfaced through the LaineyGossip site that Gosling is also attached to co-star on the film. Many at the beginning were doubtful about this news as the actor was the last person in mind to be attached in a comedy. However, after much speculation, reports were proven to be true.

According to IMDB, the film’s synopsis is as follows: “A father’s life unravels while he deals with a marital crisis and tries to manage his relationship with his children“. Carell would take on the role of the father while Gosling would star as his “suave best friend”.

The team that wrote “I Love You Philip Morris”, John Requa and Glenn Ficarra would be directing from a script by Dan Fogelman. The untitled film is slated for a fall release later this year.

At present, no word had been released yet as to when production is set to begin. For the meantime, both Gosling and Carell have new movies set to his theatres this year. Gosling appears in “Blue Valentine” opposite Michelle Williams while Carell stars in “Date Night” and “Dinner for Schmucks”.

Spanning 30 years now, the Golden Raspberry Awards, also known as the Razzies has served as the antithesis to Hollywood’s most high-profile awards night. True to its nature, the annual event dishonors the worst in the year’s cinema on Oscars-eve. Simply put, there are no glittering gowns, extravagant goodie bags, and star-studded red carpet arrivals present.

Though stars had not been known to appear on the Razzies, Bullock on the other hand wouldn’t pass up the opportunity for a speech this weekend. The actress eventually arrived to collect her Razzie tagging along some goodies of her own, a copy of “All About Steve” on DVD for everyone in the audience to enjoy.

In her acceptance speech, Bullock dwelled on the surprise of after agreeing to appear on the Razzies, eventually, she won the award. The actress shares, “I didn’t realize that in Hollywood all you have to do is say you’ll show up and you get it. If I’d known that, I’d have said that I was appearing at the Oscars a long time ago.” Bullock’s arrival marks the first appearance of the Worst Actress winner to accept the award since 2005 when Halle Berry won for “Catwoman”.

Bullock is joined by other famed stars in Hollywood and most talked about films. Here is the complete list of Razzie winners:

WORST PICTURE OF 2009
‘Transformers: Revenge of the Fallen’ (a.k.a. “Trannies, Too”)

WORST ACTOR OF 2009
All Three Jonas Brothers, ‘Jonas Brothers: The 3-D Concert Experience’

WORST ACTRESS Of 2009
Sandra Bullock, ‘All About Steve’

WORST SCREEN COUPLE OF 2009
Sandra Bullock and Bradley Cooper, ‘All About Steve’

WORST SUPPORTING ACTRESS OF 2009
Sienna Miller, ‘G.I. Joe’

WORST SUPPORTING ACTOR OF 2009
Billy Ray Cyrus, ‘Hannah Montana: The Movie’

WORST REMAKE, RIP-OFF OR SEQUEL (COMBINED CATEGORY FOR 2009)
‘Land of the Lost’

WORST DIRECTOR OF 2009
Michael Bay, ‘Trannies, Too’

WORST SCREENPLAY OF 2009
‘Transformers: Revenge Of The Fallen,’ written By Ehren Kruger & Roberto Orci & Alex Kurtzman, based on Hasbro’s Transformers Action Figures

WORST PICTURE OF THE DECADE (3 SPECIAL 30TH RAZZIE-VERSARY AWARDZ)
‘Battlefield Earth’ (2000) — Nominated for 10 Razzies, “winner” of 8 (including Worst Drama of Our First 25 Years)

WORST ACTOR OF THE DECADE
Eddie Murphy — (Nominated for 12 “achievements,” “winner” of three Razzies) ‘Adventures of Pluto Nash,’ ‘I Spy,’ ‘Imagine That,’ ‘Meet Dave,’ ‘Norbit,’ ‘Showtime’

WORST ACTRESS OF THE DECADE
Paris Hilton (Nominated for five “Achievements,” “Winner” of four Razzies) ‘The Hottie & The Nottie,’ ‘House of Whacks,’ ‘Repo: The Genetic Opera’

This week both companies exchanged harsh statements to each other in their released public statements. Head of Cablevision James Dolan calls out to Disney president and CEO Bob Iger to “Stop holding his own viewers hostage and instead work with us to reach a fair agreement”.  WABC-TV president and general manager Rebecca Campbell replies that “We can no longer sit back and allow Cablevision to use our shows for free while they continue to charge their customers for them.”

Unfortunately for many viewers, ABC owns exclusive rights to broadcast the 82^nd annual Academy Awards.

As if prayers were answered, just minutes before the event, Cablevision happily reports to its viewers that a deal were finally reached with WABC allowing the return of the network to millions of subscribers.

Cablevision executive vice president Charles Schueler informs in a statement, “We are happy to report that WABC Channel 7 has returned to Cablevision’s 3 million New York area homes. We are very grateful to our customers for their support and pleased to welcome ABC back”.

Full details on the agreement have yet to be announced.