Tyler Perry Pens Open Letter To Alleged Penn State Scandal Abuse Victim

First Published: November 28, 2011 2:04 PM EST Credit: Getty Images LOS ANGELES, Calif. -- Caption Tyler Perry arrives at a screening of Tyler Perrys Madeas Big Happy Family at the Cinerama Dome Theater in Los Angeles, Calif., on April 19, 2011Tyler Perry, a survivor of sexual abuse as a child, has penned an open letter to a former 11-year-old who spoke out about their alleged abuse at the hands of former Penn State defensive coordinator Jerry Sandusky. What you have done is so courageous, Tyler wrote in an open letter to the unnamed person, who is no longer 11, in Newsweek. The strength that it must have taken for your 11-year-old voice to speak out about such a horrible act is something that I didnt have the strength or courage to do at that age. The Madea movie mogul, who, in 2009, after the release of Precious, opened up about his own sexual abuse as a child, commended the unnamed alleged victim for his courage. I knew what was happening to me, but unlike you, I couldnt speak about it because no one saw me. I was invisible and my voice was inaudible, Tyler continued. So to think that you, when you were only 11 years old, spoke up you are my hero! Im so proud of you. Tyler said if the unnamed alleged victim does have to head to court to give testimony, he will have the support of millions, including Tyler himself. You may have to go through with that trial, and you may feel all alone when youre on that witness stand, but just know that there are millions of young boys and grown men who are standing with you including me, he added. If every man who has ever been molested would speak up, you would see that were all around you. You may not know all of our faces and names, but my prayer is that you feel our strength holding you up. You will get through this; youve already endured the worst part at age 11. Now fight on, my young friend, fight on! We are all with you. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Canadian lab grows new laughs

Alliance will release 'Servitude,' developed in the first year of the lab, in the spring. TORONTO -- Everyone knows Canadians are funny -- especially Canadians, who keep homegrown standup, radio and TV comedy thriving. But bigscreen laughs tend to be a different story.A few years ago, bizzers told government film funder Telefilm that Canadian comedies weren't making the leap to Hollywood and beyond, says the Canadian Film Center's film and TV programs director Kathryn Emslie. That led to the forming of the Telefilm Canada Features Comedy Lab, which was launched to help make comedy click at the domestic box office. It kicked off its third annual session Nov. 14 at the CFC in Toronto, a key lab partner along with Montreal-headquartered Just for Laughs."Filmmakers with comedy scripts weren't looking to Telefilm, because most of that financing went to drama," says Michael Sparaga, the Toronto-based writer/co-producer of lab project "Servitude." "So the announcement of the lab marked a big shift in priorities."The lab also is a mechanism for determining if the projects are worthy of Telefilm development money. "The hope for the participants is that the relationship with Telefilm will continue," say Emslie.The lab, which focuses on fast-tracking script development and packaging of Canadian feature comedies for domestic and international auds, has already had a degree of success."Servitude," a workplace comedy helmed by Warren P. Sonoda ("Cooper's Camera") that was developed in the lab's first year, will close the Whistler Film Festival and is set for spring release by Alliance Films. "Atlantic Gold," a romantic comedy penned by John Hazlett from the lab's second year, has previous lab mentor Donald Petrie ("Miss Congeniality") attached as director.Several more alumni comedies (five are selected each year via a rigorous process) are now speeding through the pipeline, thanks to the lab's project-specific matchmaking, which pairs teams of creatives -- typically producer and writer and/or director -- with industry heavyweights.The lab began with an intense script-focused November session (this year's mentor/guest roster features Kirsten Smith, David Frankel, Mike White and Ron Yerxa, among others) and concludes with a week of meetings in Los Angeles in the spring, with script drafts and frequent tete-a-tetes among creatives and mentors.Sparaga's first lab-enabled meeting was with Ivan Reitman, who urged the writer to make his script semi-autobiographical and R-rated. A year later -- after several drafts and a writers-room style punch-up in L.A. -- cameras were rolling.Montreal-based "Atlantic Gold" producer Antonello Cozzolino found a champion in veteran producer and 2010-11 mentor Joe Medjuck. "It's tough to get your script noticed by the right people," Cozzolino says. "By the time we hit L.A. for the lab's second session, we were meeting with major agencies and high profile-directors -- the packaging started happening very fast."Three of this year's participating projects are from British Columbia: "How to Change Everything Without Doing Anything" (producer Blake Corbet, writer-director Kris Lefcoe); "Zombie Love" (producer Mark Stephenson, writer Jonathan Williams); and "How to Break Up With Your Mother" (producers Elizabeth Levine and Adrian Salpeter, writer Kellie Benz). Another, "Fit to Print" (producer Michael McNamara, writer-director Daniel Perlmutter), is from Ontario; and "Birthmarked" (producers Pierre Even and Marie-Claude Poulin, writer Marc Tulin) comes from Quebec.Let the crossover laffs begin. Contact the Variety newsroom at news@variety.com

John Landis on Eddie Murphy: 'I Have No Clue If He's Considering Being Really Funny Anymore'

With credits including, 'Animal House,' 'Blues Brothers and sisters,' 'Three Amigos,' 'Trading Places' and 'Coming to America,' it's little from the stretch to call director John Landis a comedy genius. Additionally, Landis remains given -- due to people latter films available -- a unique knowledge of your mind of Eddie Murphy. This publish is especially useful now, considering Murphy has elevated the news recently, because you can have seen. (He's funny again in 'Tower Heist'! He'll host the Oscars! He is not prone to host the Oscars! He is not funny any more in 'A 1000 Words'!) Since the mid-1990's, Murphy has faced critique regarding his choice of roles. Landis recently spoke for the NY Occasions about his career just like a filmmaker and also the applying for grants Murphy. Once I made 'Trading Places,' Eddie was 19 or 20 and bouncing from the beaten track with talent and will be a happy guy. Once I made 'Coming to America,' it absolutely was a few years later, Eddie grew to become an worldwide star and wasn't as happy. It absolutely was awkward on that film as they was kind of a jerk, which we stood a real diminishing. But nevertheless we labored together perfectly... Eddie's really funny in this movie. He can be quite funny when he desires to be. I am unsure if he's considering being really funny any more, honestly. Ouch. Sadly, Landis is not alone in this. Despite the fact that a number of Murphy's recent films -- 'Norbit,' 'Daddy Day Care' -- made money, they've been panned by experts, who clamor for your return in the "old Murphy." Here is a concept: an Eddie Muprhy/John Landis reunion! Although, if history notifies us anything about Eddie, he may nothing beats that pitch, especially after reading through with the Landis comments. You can examine the whole John Landis interview, where he discusses 'An American Werewolf in London' and Jheri curl jokes, over on NYT. [via NYT] [Photo: Getty Images] Follow Moviefone on Twitter Like Moviefone on Facebook

REVIEW: Woody Harrelson's Menace Yields Diminishing Returns in Rampart

The last few weeks have provided us with some iconic imagery of police violence in response to the Occupy Wall Street movement — Lt. John Pike casually pepper spraying a group of UC Davis students like he’s Febrezing a sofa, 84-year-old Dorli Rainey being helped away from a confrontation in Seattle after being doused herself, Marine Scott Olsen getting carried out through a haze of tear gas in Oakland with a fractured skull. These recent events lend Oren Moverman’s Rampart a queasy immediacy even though it’s set in the ’90s, as the LAPD’s Rampart Division struggles through the notorious police misconduct scandal that ended up implicating dozens of officers and inspired the likes of Training Day and The Shield. Dave Brown (Woody Harrelson), the bad, bad beat cop — the self-proclaimed “one cop who gets it” — at the film’s center, wields far heavier artillery than a canister of spray and regularly crosses major lines of corruption and brutality, but the psychological core stands — there’s room to hide or rationalize away almost anything in the name of maintaining authority, upholding order, us against them and any means necessary. Both enthralling and draining, Rampart is a claustrophobic account of Brown’s downward spiral, or at least an accelerating chunk of it — things haven’t been going quite right for him for a while. Brown is, as his teenager daughter tells him caustically to his face, a “dinosaur,” a would-be mix of Dirty Harry and John Wayne who’s at least half as smart as he’s convinced he is. It’s a dream of a role for Harrelson, who’s the camera’s constant quavering focus, and who keeps us torn between being drawn in and repulsed by this disastrous, magnetic character. And we’re not the only ones — Brown may not have many friends, but he gets applause when he strolls back into the station after being suspended for nearly beating a man do death on camera, and he’s able to temporarily charm the ladies against their better judgment. “Oh, well,” a one-night-stand sighs in the afterglow of their assignation, as if only then coming to terms with the type of man she just slept with. He lives with an unlikely brood of women who are growing increasingly sick of his presence — his two ex-wives (Anne Heche and Cynthia Nixon), who happen to be sisters, and their two daughters, caustic teen Helen (Brie Larson) and the younger Margaret (Sammy Boyarsky). The threat of his family dissolving and leaving him alone is shaking Brown’s universe, but not as much as the thought that he’ll be fired or forced to retire from the LAPD. Being a cop is his everything — the film tracks him cruising the streets in a black-and-white, chain-smoking in his mirrored aviator sunglasses, his preening self-image projecting so strong it basically becomes fact. But being a cop doesn’t mean the same thing it did when he started. “This used to be a glorious soldiers’ department,” he tells a female rookie (Stella Schnabel, daughter of Julian), “and now it’s you.” Not long after, he tells her, “This is a military occupation, kid, emergency law,” and just how much he buys into the bullshit he’s spouting becomes the film’s central question. Any sliver of serious self-awareness, any betrayal of his own one-man-against-the-world ideology could bring everything tumbling down, though an examination of his recent actions by a D.A. investigator (Ice Cube) promises to force the issue. Moverman, whose previous film, 2009’s very good home front drama The Messenger, also featured Harrelson, co-wrote Rampart with crime laureate James Ellroy, and the latter’s nihilism and feel for the grimy side of L.A. are all over this film. While it provides a watchable, nuanced portrait of man in crisis, it’s an insistently one-note affair, repeated until it induces a splitting headache. Brown is one hell of a difficult person to spend a hundred minutes with, and though his desperation grows over the course of the film, as the likes of Sigourney Weaver and Steve Buscemi show up to try and manage the PR disasters he’s sparked, as he begins an affair with a criminal defense lawyer (Robin Wright) he seems drawn to primarily because of what a terrible idea it is, as his shady retired source on department goings-on (Ned Beatty) presents him with questionable info, he doesn’t change. He’s consumed with the concept that he’s being set up, but the trouble he’s in is all his own fault — he’s calcified into the kind of man the world would happily use as a half-deserving scapegoat. The film’s loose camerawork aims to capture Brown’s growing disorientation on his path toward oblivion, but it often draws distracting attention to itself, the seams showing — one conversation is deliberately staged so that you can only see the back of the listener’s head, and another is shot upwards from under a table so that it obscures half the screen. As Brown lurches toward self-destruction, we start to long for him to find it. He’s obviously not interested in fixing anything, and that leaves only his sad but utterly earned solitary trudge toward some form of closure that neither he, nor we, will find in the film. Follow Alison Willmore on Twitter. Follow Movieline on Twitter.

'Spider-Guy: Switch Off the Dark': Another Cast Member Hurt

"Spider-Guy: Switch Off the Dark" has experienced another cast member injuries after producers from the costly Broadway production were hit having a suit from director Julie Taymor.Matthew James Thomas, who plays the title role throughout the Wednesday and Saturday matinees, was hurt backstage throughout the November. 9 matinee performance, based on released reviews. Thomas was come to a healthcare facility and was handed stitches the development was stopped for around ten minutes.Reeve Carney, who shows Peter Parker/Spider-Guy for six performances every week and is at the Foxwoods Theatre once the injuries happened, assumed the role for that relaxation from the show."Matthew James Thomas sustained a small injuries while offstage throughout present day matinee performance," stated a representative for "Spider-Guy: Switch Off the Dark" inside a statement. "He's fine, and will also be in the show for his next scheduled performance on Saturday."Because the production opened up this past year, several stars and stunt doubles happen to be hurt, including Natalie Mendoza (who had been later changed by T.V. Carpio) and Christopher Tierney."Spider-Guy: Switch Off the Dark" features music and lyrics by Bono and also the Edge, having a book co-compiled by Taymor, Glen Berger and Roberto Aguirre-Sacasa. The Hollywood Reporter

Contender: 'J. Edgar'

As mind from the FBI for pretty much 40 years, J. Edgar Hoover understood the strategies of a few of the country's most effective males, but very guarded their own.Now a trio of Oscar heavyweights -- star Leonardo DiCaprio (a 3-time nom), director Clint Eastwood (that has four Oscar statuettes) and writing champion Dustin Lance Black -- tries to get inside his mind within this ambitious, and sometimes speculative, biopic.Hot off a higher-profile premiere in the AFI Film Fest, the half-century-spanning lesson in history -- which co-stars Naomi W as Helen Gandy, Hoover's secretary for 54 years, and Armie Hammer ("The Social Networking") as reliable deputy Clyde Tolson -- touches on such important 20th-century occasions because the Lindbergh kidnapping, JFK's murder and also the civil-privileges movement.As you might expect from the bio-pic composed through the author of "Milk," the film also addresses the continuing speculation and gossips that Hoover, who never married or had kids, was privately gay coupled with a romantic relationship with Tolson (the 2 dined daily as well as vacationed together).Though Eastwood's history demands the film be studied seriously, reviews suggest its Oscar chances might be compromised by defects in from the script to old-age makeup.Release date: November. 11 Distrib: Warner Bros. Browse the Variety review Contact the range newsroom at news@variety.com

Lux boards Cromosoma's 'Machine'

BARCELONA -- Lux Animation has boarded Cesc Gay's "The Triplets and also the Machine That Runs the planet,Inch among the greatest-profile animated features getting into production in The country. A Luxembourg-based studio and production house headed up by controlling director Eric Anselin, Lux will co-produce with Barcelona-based Cromosoma. Co-created with Perro Verde, Cromosoma's "Facial lines" is among the 18 distribution introduced a week ago that entitled to the animated feature Academy Award. "Machine" marks the toon feature debut of Cesc Gay, a Catalan director and animation enthusiast who created out work with prestige live-action features for example 2000's "Nico and Dani," 2003's "Within the City" and 2007's Marly del Plata fest champion "Fiction." Gay co-directs with Baltasar Pedrosa from the script by Gay, Anna Manso and Francesc Orteu. The toon pic is really a spin-removed from the Cromosoma-created "The Triplets," probably the most effective toon TV series in The spanish language history that's been broadcast in 140 nations and named into 35 languages. Transporting an easy environmental message, "Machine" focuses on a household that's been accountable for centuries with taking care of a huge assortment of machines making certain the earth's climate keeps working. A dastardly umbrella salesperson tinkers using the machine to impress rainstorms worldwide, but sparks far worse weather problems. Among Spain's greatest toon photos, allocated at six million ($8.two million), "Machine" has drawn lower $2.5 million in financing, split between Catalonia's ICIC Institute of Cultural Industries and Catalan pubcaster TV3, that also co-produces "Machine." The spanish language broadcaster TVE has pre-bought the film. "Machine" is within pre-production in the stage of graphic development, stated Dani Martinez, Cromosoma production manager. "Machine" is skedded for release early 2014. A household film, "Machine" targets 5-8s as well as their parents, stated Martinez. Lux's co-push equity in Machine may be the start of a budding production alliance. Based on Martinez, Cromosoma is studying co-creating Lux Animation's toon series "Burny the small Dragon," a buzz title at September's Cartoon Forum, in regards to a dragon looking for its place on the planet. Contact Variety Staff at news@variety.com

Schwartz: Independent thinker

Jonathan Schwartz When Jonathan Schwartz launched his creating career six in the past, his mindset couldn't be known to as indie. Rather, he setup numerous studio projects including "Mark Twain RecallsInch at DreamWorks, with James Franco installed on star. Then, he anxiously anxiously waited in development purgatory."I recognized after i keep creating films at art galleries, I would never get to produce a movie," recalls the La native who started his showbiz career about 10 years ago becoming an ICM lawyer fresh from George Washington U. law school. "Every film I've done since remains an indie."The change of career has brought to 10 films in five years for your Berkeley alum, beginning using the Sundance darling "Wristcutters: An Appreciation Story." That auspicious debut ended up being another Sundance hit, "Douchebag," they also composed.He hard his Sundance cred while using $250,000 Anton Yelchin-Felicity Manley starrer "Constantly,Inch which nabbed the grand jury prize as of this year's fest."I have two criteria to create a film,Inch states Schwartz, whose credits include Peter Weir's "The Means By Which Back" and Austrian auteur Michael Haneke's British-language remake that belongs to them film "Funny Games.""I gotta believe that it is good. I'd rather not produce a movie that won't get seen by anybody."And despite his accomplishments inside the indie world, Schwartz isn't ruling out returning for the studio sphere. He still expects to create passion project "Mark Twain."Nevertheless, his sensibilities rarely mesh while using typical offering within the majors."I don't always love huge studio movies that attract the general public just because of my taste," states Schwartz, who recently wrapped the drama "Nobody Walks," toplined by John Krasinski.Still, Schwartz wouldn't recommend indie film creating for everyone. "In the event you care a good deal about money, it's not likely the initial business I'd advise beginning,Inch he jokes.10 PRODUCERS To Check Out 2011Jason Michael Berman Borderline Films Tyler Davidson & Sophia Lin James Gay-Rees Lawrence Inglee Red-colored-colored Granite Pictures Laura Rister Jonathan Schwartz Diarmid Scrimshaw Kevin Walsh Contact the number newsroom at news@variety.com

Rhianna to accomplish Thanksgiving Special With Katie Couric

Rhianna, Katie Couric This Thanksgiving, Rhianna might be the attention-opening antidote to a lot of chicken and wine. The pop star and Katie Couric will sit lower for just about any 90-minute holiday special, A Very Gaga Thanksgiving, which will air Thursday, November. 24 at 9:30/8:30c on ABC, the network introduced Thursday. Lifetime apparently developing a Rhianna biopic "Everybody knows Rhianna can be a phenomenon," mentioned Couric. "This is often a chance to determine really who she's beneath the wild costumes and staged musical amounts ... Rhianna just like a secondary school student still bruised when you're excluded within the party, Rhianna just like a devoted daughter and caring sister, Rhianna just like a 25-year-old lady implementing fame and fortune that made an appearance later on overnight. She'll impress you, delight you together with surprise you." Besides the sit-lower interview, the special will feature eight Gaga performances, including "The benefit of Glory," "We,A "Marry the Evening" and "White-colored Christmas." See the relaxation of current day news It cannot be Thanksgiving without some eats, so Gaga will positioned on an apron and, by utilizing chef Art Cruz, prepare deep-fried chicken and waffles on her behalf site visitors. What, no stuffed and roasted little monsters? Will you produce a Very Gaga Thanksgiving part of your holiday routine this year?

Hilary Swank Dropped By 42West: Report

Chechnya tyrant Ramzan Kadyrovs birthday party is the gift that keeps on giving — or maybe the opposite of that. Hilary Swank’s PR firm 42West has released the actress, EW reports, amid the continuing fallout from her appearance at the October 5 event. As one of the trades might have said, the “praisery” decided to distance itself from Swank because she and they disagreed how the aftermath of her appearance should be handled. Swank already fired longtime manager Jason Weinberg and a pair of CAA agents but remains with CAA as a client. For now.

The City Dark

A Roof Films, Edgework Art galleries presentation from the Wicked Delicate Films production. Produced by Ian Cheney. Co-producers, Tamara Rosenberg, Julia Marchesi, Colin Cheney. Directed, put together by Ian Cheney.With: Irving Robbins, Roger Ekirch, Ray Birnbaum, Mike Storch, Neil deGrasse Tyson, Matty Holzhacker, Ann Druyan, Mark Van Baalen, Jack Newton, Chris Impey, Jeffrey Kuhn, JD Remedy, John Tonry, Nick Kaiser, Kirt Rusenko, Annette Prince, Jen Nevis, Susan Elbin, David Willard, Chad Moore, Steven Lockley, Richard Stevens, Suzanne Goldklang, George Brainard, David Blask, Jon Shane, Jane Brox, Howard Brandston, William Ho, Herve Descottes, Don Pettit, Peter Our god, Stephanie Clement, Anne Krieg."What can we lose once we lose the evening?" might be the question asked for by "The City Dark," a fascinating, well-rounded have a look at light pollution told getting a star-searching enthusiast's desire for his subject. Helmer Ian Cheney, best known to as co-creator of docu "King Corn," explores the social, physical and artistic effects within our not-so-dark evening skies, divvying them up into six sections that provide a sizable-different discussion from the recent phenomenon. Though a 53-minute version can be obtained, smallscreens could easily showcase the greater fest cut, an all-natural for PBS and atmosphere-friendly channels worldwide. Cheney lives in Gotham but was elevated becoming an astronomy dweeb in rural Maine. An excellent astrophotographer, he was struck with the difference inside the evening skies involving the two places, and hang up to research how light pollution is changing the earth. Like every market-savvy docu helmers, they are fully aware use a little of hope with the pic's finish, though irreversible global industrialization won't cede modernization to the benefits of a dimmer glow. Two-thirds in the planet's population lives in the "luminous fog," meaning the ceaseless aura of urban lights obscure starry skies. By having an impressive roster of scientists and amateur astronomers, Cheney addresses the problems this makes for your planet, such as the elevated impracticality of finding potentially catastrophic meteors simply because they approach Earth despite super-light-sensitive instruments. All this extra light is compromising natural world: Sea turtle hatchlings without effort mind for the protection of sunshine-reflecting ocean waters, but they're condemned when urban glow coaxes them inside the other way. For humans, studies have proven that girls that evening-change work are substantially more at risk of breast cancers, probably due to melatonin levels that need the sunshineOrdarkish cycle to properly adjust thus, a much better evening time for your population generally might suppress melatonin. However, it might have been useful had Cheney spoken with experts on such problems inside the Arctic, whose populations yearly go three several days without seeing the sun's sun rays. In the last two sections, the helmer confesses that city lights in dangerous towns offer reassurance and possess been credited getting a decrease in crime, but more youthful crowd talks with light designers for instance Herve Descottes, who done Manhattan's High Line Park, to prove that properly directed light could keep the evening sky dark and provides sufficient illumination. Impressive images of star-filled nights can help help remind auds of childhood excursions for the planetarium, and handful of will ignore the primary difference after they next research to the heavens. Clever animation helps to keep things upbeat, like the music, though some may find the tunes try too much to buoy the spirit.Camera (color, HD), Taylor Gentry, Cheney editors, Ernest Shanahan, Cheney music, the Fishermen Three, Ben Fries appear, Barbara Parks animation, Sharon Shattuck connect producers, Curt Ellis, Domenic Romano, Simon Beins. Examined at Abu Dhabi Film Festival (The Planet), March. 14, 2011 (Also in SXSW Film Festival -- competing.) Running time: 83 MIN. Contact the number newsroom at news@variety.com

Talkback: Who Has Been Bill Murray's Best Co-Star?

Yesterday it was announced that Bill Murray had signed on to star in Roman Coppola’s upcoming film, A Glimpse Into the Mind of Charles Swan III alongside — drum roll please — Charlie Sheen. In honor of this out-of-left-field pairing, let’s recall some of Murray’s best onscreen partners in film and consider who has been the best. It’s hard to even ponder the best without considering his most frequent collaborator and co-star in the ’80s, Harold Ramis. Before the pair’s notorious falling out, the Chicago-raised comedic actors appeared alongside each other in Stripes, Ghostbusters, Ghostbusters 2 and Groundhog Day. Ramis also directed the Murray vehicle Caddyshack and co-wroteMeatballs. Although no one remembers Murray and Ramis for their groundbreaking scenes shared or crackling chemistry, Ramis deserves mention as a formidable co-star who could match Murray in wit and dryness if not prickly charisma. Then there are the co-stars that played pupil to Murray’s offbeat professor like Chris Makepeace, who was taught some crucial camp social lessons by Murray’s Meatballs counselor and Jason Schwartzman, whose peculiar private school student was taken under the wing of Murray’s lonely tycoon in Rushmore. Both actors lured multiple dimensions and a caring quality from Murray, who more often than not has lapsed into the role of incorrigible grump (Groundhog Day and Scrooged) or staple smart aleck (Ghostbusters) during his career. Richard Dreyfuss turned that pupil-professor relationship on its ear though, when in 1991’s What About Bob?, he played the angry therapist and mentor to Murray’s obsessive-compulsive patient with stalker tendencies. Although the movie was only a modest box office success, Murray’s role as an upbeat optimist — even in the face of his many phobias — was a welcome change. But perhaps most audience members would credit Scarlett Johansson as Murray’s best co-star for helping to coax out his most gentle, honest performance ever in Sofia Coppola’s Lost in Translation. As an aging actor who forges an unlikely bond with an unhappily married twentysomething (Johansson), Murray allowed himself to be completely vulnerable, finally trading wisecracks for subtle emotion, thoughtfulness and his first Oscar nomination. Which co-star do you think has been Murray’s best? Maybe you consider Johnny Depp (for Ed Wood), Robert Duvall (for Get Low) or Uma Thurman (in Mad Dog and Glory) to be the finest. Either way, we’d love to hear your opinion below.