Richard Jenkins is known from his performances in Six Feet Under, The Visitor and Burn After Reading among others.

Single-Disc Features:
English, French and Spanish DD5.1 Surround
English SDH, French and Spanish subtitles
Sing-Along
Deleted Musical Number: “The Name of the Game”
Feature Commentary with Director Phyllida Lloyd

Two-Disc Special Edition Features:
Digital Copy of Mamma Mia!
Deleted Scenes
Outtakes
The Making of Mamma Mia!
Anatomy of a Musical Number: ‘Lay All Your Love on Me’
Becoming a Singer
Behind the Scenes with Amanda
On Location in Greece
A Look Inside Mamma Mia!
“Gimme! Gimme! Gimme!” Music Video
Bjorn Ulvaeus Cameo

BluRay Edition Features:
1080P 2.40:1 Widescreen
English 5.1 DTS-HD Master Audio
French and Spanish 5.1 DTS Surround
English SDH, French and Spanish subtitles
U Control - Picture-in-Picture
U Control - Behind the Hits
Play with Sing-Along
Deleted Scenes
Outtakes
Deleted Musical Number: “The Name of the Game”
The Making of Mamma Mia!
Anatomy of a Musical Number: ‘Lay All Your Love on Me’
Becoming a Singer
A Look Inside Mamma Mia!
“Gimme! Gimme! Gimme!” Music Video
Bjorn Ulvaeus Cameo
Feature Commentary with Director Phyllida Lloyd
BD Live - My Scenes Sharing
BD Live - Downloadable Content
BD Live - My Chat
BD Live - My Mamma Mia! Commentary

It was among the more gothic scenes in Jennifer’s Body, a closing battle with fewer rules than Ultimate Fighting, pitting Jennifer (Transformer’s Fox) against her longtime friend Needy Lesnicky (Seyfried, of Mamma Mia!) and her relatively wimpy boyfriend Chip Dove (Evan Almighty’s Simmons). The movie’s swimming pool location, inside a derelict juvenile hall slated to become a hospital for British Columbia’s criminally insane, was forbidding in its own right. The flotsam in the pool’s filthy water — leaves, a wheelchair, beer cans — made the entire setting for the film stomach-turning, especially since the young actors had to swim in it.

Somehow, though, it wasn’t quite disturbing enough.

“The vomit has too much hang time,” said Karyn Kusama (Girlfight), the film’s director. “It’s arcing too much.” Screenwriter Diablo Cody wondered aloud, “Can’t we adjust it, like a shower head?”

So the Jennifer’s Body special-effects team reset the compressed-air-powered rig, which discharged the artificial throw up from a tube hidden near Fox’s mouth. Carrying a lot more momentum, the barf in the subsequent take screamed out with the trajectory of a Manny Ramirez line drive. “That’s our money shot,” Cody said as the actors toweled themselves off.

Classing it down?

Oscar-winning screenwriter Steven Zaillian followed his Schindler’s List win with “A Civil Action and Gangs of New York. After winning his Forrest Gump screenwriting Academy Award, Eric Roth scripted The Insider and Ali. Ronald Harwood went from the Oscar-winning The Pianist to The Diving Bell and the Butterfly. Cody’s post-Oscar path follows a much different direction.

Fresh from her Juno triumph, a debut script that not only brought her the 2007 original screenplay trophy but also made her one of the town’s most in-demand storytellers, the 30-year-old Cody decided to make a horror film.

“I was just experimenting with several scripts,” said Cody, who also has worked on the Showtime television series The United States of Tara and the script for the college comedy “Girly Style.” “I did not think this would be my follow-up to Juno. But I don’t know if I will ever write [another] highbrow, artsy movie.”

In fact, Cody tried to get her Oscar out of her mind — and eyesight. “I literally put it away — under my bathroom sink with the toilet paper,” she said. “It was difficult to look at. I wanted to think of something else.”

Just as Juno was hardly a standard-issue teen pregnancy film, Jennifer’s Body, which comes out next year, intends to be an equally atypical genre movie.

Yes, several people will die horrific deaths. Of course, a stunning girl will appear wearing very few clothes. A young couple will fumble having sex. Pretty much everyone old enough to pay bills — police, parents, teachers — will come across as inept. And then, if Cody and Kusama can pull it off, Jennifer’s Body will veer off in new directions, trying to bring some girl power to what are almost always damsel-in-distress narratives.

“I want to be faithful to the genre but also turn all of those things sideways,” Cody continued. “My biggest priority is putting words in women’s mouths — it just doesn’t happen. Women don’t get the good lines. They don’t get to do anything. And they don’t get to be reckless. And I’ve always been reckless.”

A former alternative newspaper reporter, Internet blogger, sex industry worker and memoirist, Cody grew up loving scary 1970s and 1980s movies — “I’m a horror junkie,” she said. Cody was particularly drawn to thrillers with artistic flair — Rosemary’s Baby, Carrie, The Shining, Poltergeist and the darkly comic pre-” Spider-Man films from director Sam Raimi, especially The Evil Dead.

Yet Cody was equally struck by films that many might not find inherently terrifying, including Sofia Coppola’s The Virgin Suicides. “There’s the idea of the adolescent feminine mystique being inherently creepy,” Cody said. “Two girls holding hands platonically as they cross a schoolyard — I find that creepy.”

Just girls being bad

The Central characters in her Jennifer’s Body script are two classmates whose friendship dates back to slumber parties: Needy and Jennifer. Jennifer is a man-eater in both the literal and figurative sense. Needy has been resolutely faithful to her BFF, but changes course when Jennifer crosses to the dark side and decides that Needy’s boyfriend, Chip, would make for a tasty piece of teen jerky. “I am directly influenced by girls I have known,” Cody said. “Girls who treated life as a race, and if there was someone or something they wanted, they would stab you in the back. It’s a movie about hunger. A lot of teenage girls are starving themselves and a lot of them are psychologically hungry, because they are so misunderstood.”

Cody wrote Jennifer’s Body after “Juno,” but before the latter film was released theatrically last December. Producer Jason Reitman, who directed Juno, and Fox Atomic, 20th Century Fox’s since-downsized genre label, joined to buy the screenplay.

“I think the script flummoxes some people,” Cody said. “It’s a little weird, not what you’re used to.” In fact, she said, she’s a little “worried” about how Jennifer’s Body might be received. ” Juno is a life-affirming movie,” Cody said over dinner, with filming wrapped for the day. “And this is a death-affirming movie. The people who really loved Juno — I don’t know if they will love this in the same way. And the people who hated Juno — well, this will just be more grist for the mill.”

While the film, set in rural Minnesota not far from where Cody once lived, tweaks the conventions of the killer-on-the-loose genre, it does so in Cody’s familiar pop-culture-reference-laden style. When a poser devil-worshiping rock band named Low Shoulder decides to perform a human sacrifice, they rely on plans printed out from the Internet.

“Do you know how hard it is to make it as an indie band these days?” one of the group’s members, Nikolai (Adam Brody), says as he prepares to follow the online slaying instructions. “There are so many of us and we’re all so damned cute. If you don’t get on ‘Letterman’ or some retarded soundtrack. . . . Satan is our only hope.”

Kusama and Cody face an unusual challenge with Jennifer’s Body: While the film is populated with gorgeous women, they want to make sure the movie isn’t lecherous. “That’s something you have to grapple with when you are making a monster movie — the girls have to look hot,” said Cody, who describes herself as a radical feminist. “We didn’t have to worry as much about [Juno star] Ellen Page’s lip gloss” as how Seyfried and Fox look in this film.

“But horror is a surprisingly feminist genre,” Cody said. “The last person standing is usually a woman. And most of the guys in this movie are vain and insecure. You’ll notice there are no fathers in this movie. I didn’t want there to be any male role models — I didn’t feel these were girls who were loved by their fathers.”

memoiristDirector Kusama, who read Jennifer’s Body before she had seen Juno or heard of Cody, said the script reminded her of a Grimm fairy tale. “What’s really special about it is the emotional underpinning of the story, and the idea that your parents cannot protect you,” Kusama said.

As she bobbed in the pool wearing a black-and-white prom dress (of course, there’s a prom scene — it’s a horror movie after all), the 22-year-old Fox said she knows girls like Jennifer all too well. “I was the Jennifer of my school — the troublemaker, the anarchist,” Fox said. “She has an appetite for destruction.”

It’s because of people like Jennifer, Fox said, “that I don’t have any girlfriends. Because they always want what every other woman has. There’s no loyalty among women.” Still, Fox said, her character isn’t pure evil.

“I hope that people feel sorry for her,” she said. “She’s a victim before she’s a predator.”

Source: LA Times

Seyfried joins Channing Tatum in the pic and will play a young woman who meets and falls in love with a soldier while he’s on leave.

Jamie Linden wrote the script.

Relativity is fully financing the film, which begins shooting Oct. 13 in South Carolina. Screen Gems will distribute domestically.

Relativity’s Ryan Kavanaugh will produce with Marty Bowen and Wyck Godfrey, the Temple Hill partner who developed the film under their New Line deal and then enlisted Relativity when that distributor was absorbed by Warner Bros. Relativity’s Tucker Tooley will be executive producer.

Seyfried has been shooting her regular role on the HBO series Big Love, and will jump right into Dear John when production wraps. She will next be seen in the Karyn Kusama-directed Jennifer’s Body, a Diablo Cody-scripted comic thriller.

Source: Variety

Source: Box Office Mojo

Audiences at these specially selected theaters are invited to bring friends and family to experience the smash hit movie musical in a whole new way by singing along to the songs they love. Mamma Mia!: The Sing-Along Edition will feature the lyrics to every musical number on the screen, and you are invited to sing and dance along. Join in on all your familiar favorites like Dancing Queen, S.O.S., Money, Money, Money, Take a Chance on Me, Lay All Your Love on Me, Voulez-Vous and all the others from the film!

Details on theaters and showtimes that will feature Mamma Mia!: The Sing-Along Edition will be coming soon. For the latest news, please visit MammaMiaMovie.com or your favorite ticketing site to make a destination visit to join in on the celebration.

Since its release in early July, Mamma Mia! has turned into an unprecedented worldwide phenomenon, breaking records across the world as the biggest opening of a musical in history. It has already become the fastest movie musical to reach $100 million at the U.S. box office and is now the highest grossing film of 2008 in the U.K., Austria, Greece, Hungary, Norway and Sweden. Within the next two weeks, the Meryl Streep and Pierce Brosnan-led musical romantic comedy will become the most successful film Universal has ever released in the U.K. The film still has more than 35 territories in which to open.

The music of the film has proved as much a draw as the film itself and brought resurgence to the world’s favorite ABBA songs. Currently, the Mamma Mia! soundtrack is the No. 1 album on Billboard’s Top 200 album chart. It is also the No. 1 album overall in Canada, Australia, Switzerland, Finland and Hungary.

Mamma Mia!: The Sing-Along Edition arrives in select theaters across the country on August 29, 2008.

Source: MammaMiaMovie.com

The Decca Records release sold 130,000 copies in the week ended August 10, becoming the second soundtrack this year to reach the summit, following the Juno soundtrack in January.

The film soundtrack to Mamma Mia! features actors like Meryl Streep, Amanda Seyfried and Pierce Brosnan belting out ABBA favorites. The film has earned $104 million at the North American box office.

Source: Reuters.com

Over at JoBlo.com you can check out the first advance screening review of Jennifer’s Body… And it ain’t good. See the site to read the full review. Here’s an excerpt concerning Amanda’s performance:

The film’s performances are pretty decent. Seyfried does as good as one could to hold up the film even though it’s this bad. Megan wasn’t horrifyingly bad but neither was she good. There was a scene where it’s a real big close up of her kissing another chick (YES!!!!). The men in the audience hooted and cheered even though it was completely random and the director put it in as a a kind of apology for not giving up the real goods (no Megan Fox boobage).

Honestly, who cares if the reviews are bad. I personally LOVED Juno and the reviewer apparently didn’t. Jennifer’s Body is my most awaited film of the moment and I’m sure it’ll make me happy, even if it doesn’t please the Juno hating crowd and others who simply don’t get the awesomeness of Diablo Cody.

The stars and creators of HBO’s Big Love hit the Los Angeles Times’ Emmy Screening Series at the ArcLight Cinema in Hollywood last night to talk about the show, and they spilled some good deets about season three.

Click in to find out which wife’s star is rising, which character is going to finally get “payback” and the exact premiere date of season three.

• According to Bill Paxton, who plays patriarch Bill Henrickson, before he had the script, he had no idea Big Love was going to be a suburban family drama. “I thought it was going to be like Deliverance…”

• The recent stories in the news about fundamentalist Mormons will not go unaddressed on season three. Cocreator Mark V. Olsen said that in real life, the removal of children from polygamist homes has driven some of the “more mainstream” families underground, because they are afraid of losing their kids. According to Olsen, “There will be a heightened fear there, as we enter the third season.” Meanwhile, Chloë Sevingy, who plays ultraconservative sister-wife Nicki Grant, says all the photos and footage of real sister-wives have finally “justified my hairdo.”

• Nicki’s going to ditch the “compound chic” look, at least at the beginning of season three. According to Chloë, Nikki starts dressing in “normal” clothes more often, but she may well restore the long skirt look before too long, for a “very particular story reason,” according to cocreator Will Scheffer. Hmmm…undercover mission to reinfiltrate the compound?

• According to Jeanne Tripplehorn, who plays first wife Barb—the writers jokingly call her “St. Barb”—what you can expect next year is clear: “Season three: More creepiness!” For real though, I think the Henricksons hit the road. Someone asked about a family getaway and if the look on Jeanne’s face was any indication, then, Bill, the wives and the kids are totally going on vacay this season.

• The fabulous ladies of Juniper Creek will continue to be present and accounted for this year: Just yesterday compound queen Mary Kay Place was shooting scenes in which Adeline writes her memoirs, and at some point in season three, Bill’s mom Lois (Grace Zabriskie) “gets payback” against horrible husband Frank (Bruce Dern). You go, girls.

• According to the cast, Margie’s star is rising this season as she enters into the world outside the family via her work for Weber Gaming. According to Ginnifer Goodwin, Margie is “going through puberty in a way,” and Jeanne thinks that when it comes to Margie and the Weber storyline, “Margie is sowing her oat—singular.”

• The Hollis clan is based on an actual homicidal Mormon cult of the ’70s; several of the sister-wives are still at large and wanted by the FBI. Also, according to Mark Olsen, they will tell the story of Hollis Green’s freaky-deaky and seemingly transgender wife: “We’ll find out who she is.”

Source: EOnline.com