HollywoodNews.com: Although they now have a child together, Kimberly Stewart and Benicio del Toro are not in a relationship, something she would allegedly like to change.

When she got pregnant, the two were reportedly not dating, states RadarOnline.com. While things were casual between Stewart and del Toro, she reportedly wants more.

They are currently in communication for the sake of their new daughter, but Stewart reportedly wants things to be romantic between them.

The two are rumored to have been only hooking up for about a month when she ended up pregnant.

Do you think they will end up in a relationship?

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HollywoodNews.com: Kimberly Stewart and Benicio del Toro have apparently settled on a name for their new baby girl who was born this weekend.

The two have reportedly named their daughter Delilah, states UsMagazine.com. Stewart gave birth on Sunday which was also her 32nd birthday.

Stewart and del Toro are no longer involved, but plan to raise their child together.

Both the baby and mom are reportedly doing well at this time.

Do you like the name they chose?

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By Kim Palacios

hollywoodnews.com: Actors Kimberly Stewart (daughter of Rod Stewart) and Benicio Del Toro became parents tonight–their baby girl weighed in at 8 lbs. 9 oz. Though the couple is not together, a representative of Del Toro called him “very supportive.” Their baby girls has yet to be named.

Grandfather Rod Stewart reported excitement at the idea of his daughter expanding the family, though the music legend recently welcomed a new child of his own. “It’s going to be good,” Stewart said about another young child coming into the family. Stewart himself is 66.

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HollywoodNews.com: It is confirmed that Rod Stewart’s daughter, Kimberly Stewart, is expecting Oscar-winning actor Benicio del Toro’s baby.

Benicio’s rep recently confirmed the surprising news, states Life & Style. “Kimberly is pregnant. Benicio is the father and is very supportive,” his rep stated.

Benicio’s rep also commented that the two are not a couple, but they are both looking forward to the arrival of the child.

It is unknown at this time how far along Stewart is in her pregnancy.

Are you surprised by this baby news?

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The casting has been confirmed by THR, which said that the movie, which is not a biopic of the three physical comedians, “is being divided into three vignettes telling an overall story.”

So now that the Farrellys have their Curly, they need to cast their Larry and Moe.

Speculation over at Deadline has Hank Azaria and James Marsden as the frontrunners. That seems like a big step back from Sean Penn and Benicio Del Toro, who were initially in play for the roles. But no offers have been made.

Part of me is excited that the project is moving forward. The Farrellys have been passionate about making a Stooges film for years, and I actually think it might be better to go with a lesser-known name like Sasso over Carrey, who would bring his own identity (and baggage) to the role.

More on The Three Stooges as it develops.

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HollywoodNews.com: In crafting her latest drama-edy “Somewhere,” director Sofia Coppola revealed in an interview how Los Angeles served as her muse while she was in Paris.

“It started with wanting to write about Los Angeles, and I was living in Paris at the time. So thinking about Los Angeles, this character came into mind, that Stephen Dorff plays, and then I wanted to do a portrait of this guy and it took its shape from there. And then the character of his daughter came after, and that evolved into kind of the father/daughter part of the story,” the director tells MTV News.

In making the film, Coppola was set in her ways in terms of what she wanted to create and held off on showing a cut to her father, Francis Ford Coppola, until she was done. In the past, the female helmer admitted on previous projects “Sometimes I’ll show him [something] earlier on.”

Part of her inspiration to dote on Los Angeles in “Somewhere” stemmed from “there hasn’t been a portrait of modern-day L.A.” said Coppola citing “Shampoo” and “American Gigolo” as her must-see films about the City of Angels.

Focus Features unspools “Somewhere” on December 22. IMDB describes the plot as:

Johnny Marco (Stephen Dorff) is a bad-boy actor stumbling through a life of excess at the Chateau Marmont Hotel in Hollywood. With an unexpected visit from his 11-year-old daughter (Elle Fanning), Johnny is forced to look at the questions we must all confront.

Added Coppola: “ I was just looking at how tabloid culture was while I was living in France. You know, there’s always stuff about the Chateau Marmont. I remember going there when I was in college, and now it’s so different with our reality TV shows and paparazzi around there. There wasn’t Us Weekly when I lived there. It was a different world and I started with wanting to do something set in that world.”

Pd

Photo Credit: Focus Features

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By Roger Friedman

Hollywoodnews.com: Cate Blanchett is the perfect woman.

Forget the fact that she spoke perfect, fluent French last night from the stage of the Palais des Festivals for the Cannes Film Festival premiere of “Robin Hood.”

Or that she walked, in high heels, in the rain, on a soaked red carpet from the Palais, down the huge outdoor staircase, up a long sidewalk and across the street to the Majestic Hotel after the “Robin Hood” premiere covered just by a large umbrella and holding–bunched up in one arm–the train of her specially designed Alexander McQueen gown.

The black and white dress, emblazoned with an eagle, was designed for Blanchett for the March 7th Academy Awards by McQueen. It was the last dress he personally cut, her agent told me, before tragically committed sucide on February 11th.

Mon dieu!

I was walking behind her, in a group of Blanchettes, and her publicist Lisa Kasteller said, “I wish someone took this picture.” For once, there was no paparazzi. It looked like a picture out of the old Life magazine!

Forget all that. Russell Crowe told me last night, at the very late night after party for “Robin Hood.” something more important: “She’s a great kisser.”

Blanchett was also a sport. The wild, climactic war scene from “Robin Hood” took 11 days to film, with 1500 extras, on a beach in Wales last summer. Crowe says he was there the whole time, despite British press reports.

“We also stayed in trailers. I did a lot of cooking,” he told me. “Mostly steaks and chicken. Did you know my mum was a movie caterer when I was growing up?” he asked.
I did not. Neither did Benicio del Toro, who was sitting with Crowe and hanging on his every word.

“Cate would change and come hang out with us boys,” Crowe said, and smiled admiringly. He loved that about her, too. “And you can see we do have great chemistry on screen.”
They do. And a sequel to “Robin Hood” seems likely to us viewers, Crowe says it would be “incredibly expensive.”

“We have to hit a number,” he told me, “on this one and see how we do.”

“Robin Hood” is a big old fashioned movie, and one not to miss when it’s released Friday. The human scope of it is grand and all real. There’s very little CGI. The big scenes were all shot — especially one with gigantic landing barges carrying the extras to battle on that Welsh beach.

BY SEAN O’CONNELL

Valentine’s Day (*1/2 out of 4)
Garry Marshall intersperses outtakes and bloopers throughout his “Valentine’s Day” end credits. In one, a limo driver coyly asks his passenger, played by Julia Roberts, if she’s ever shopped on Rodeo Drive. “Once. It was a big mistake. Huge,” Robert deadpans, lightheartedly skewering her career-launching turn in Marshall’s “Pretty Woman.”

If Roberts considers “Pretty Woman” a mistake, she must classify “Valentine’s Day” as a disaster of epic proportions. The magnetic redhead – with her trademark radiant smile – is but one small piece of this unwieldy concoction that tracks a small army of Angelinos falling in and out of love on Valentine’s Day. Florist Reed Bennett (Ashton Kutcher) has a finger in almost half of the loosely associated storylines. Not only does he propose to his wishy-washy girlfriend (Jessica Alba), but countless characters conveniently pop in and out of Reed’s L.A. shop, helping link subplots that would have a hard time intersecting if “Valentine’s Day” were set in a phone booth.

Which does “Valentine’s Day” have more of, flavor-of-the-minute celebrities or flavorless and tired romantic clichés? I lost count of both tallies as Marshall’s artificially sweetened ensemble comedy lumbered through no less than 15 Valentine vignettes, each as thin as a Hallmark card yet none quite as endearingly sentimental.

Marshall’s casting almost distracts from Katherine Fugate’s sloppy writing. I still can’t figure out how Jennifer Garner’s character boards a plane for San Francisco intent on surprising her lover (Patrick Dempsey, playing yet another smarmy, cheating sleazeball) yet never leaves Los Angeles. The nurse she speaks to at her “destination” confirms she’s in Los Angeles. In the very next scene, Garner’s on her cell phone telling her best friend she’s still in L.A. How does a plot hole that massive make it through final edits? Either Marshall doesn’t care, or he assumes the audience won’t.

Perhaps this is wishful thinking on my part, but had the star-studded “Valentine’s Day” lived up to its full potential, it could have become the next “Nashville” or “Short Cuts.” No doubt the late, great Robert Altman would have figured out how to gracefully maneuver his capable cast through their preconditioned hoops without relying on preposterous coincidences or hiding behind hackneyed plotting. Instead on an interlocking tapestry of passion and romance, however, “Valentine’s Day” ends up being the modern-day equivalent of a “Love Boat” episode, caring only about matchmaking its roster of able A-listers regardless of practicality or common sense. Exert some common sense of your own and support a better movie this Valentine’s Day.

The Wolfman (**1/2 out of 4)
Joe Johnston’s “The Wolfman” is no dog. But it doesn’t exactly give us any reason to howl at the moon.

In updating one of Universal’s classic creatures, Johnston and his collaborators recreate a moody, Victorian England where a wild beast is stalking residents of a misty moor. Lawrence Talbot (Benicio Del Toro) returns home to attend his brother’s funeral – he was shredded by the legendary wolf of the title – but finds something fishy with his father, John (Sir Anthony Hopkins), and his brother’s fiancée (Emily Blunt).

“Wolfman” has a number of things going for it, from its able cast to Rick Baker’s fantastic, transformative makeup tricks. When you need the best, you get Baker, so Johnston deserves credit for his wise choices. But he also receives the blame for stripping the fun out of the wolfman lore. “Wolfman” is fine, but kind of a bore.

Eerie, fog-shrouded moors. Decaying country estates. Mysterious gypsies. Men brandishing shotguns and torches leading barking hounds through woods under a full moon in search of a mad killer.

Director Joe Johnston hasn’t made a great film with Universal Pictures “The Wolfman,” but he’s certainly done justice to the traditional gothic horror genre by hitting all the right cinematic buttons in resurrecting the classic lycanthrope tale of an American who revisits his ancestral home in Victorian England only to be bitten by a werewolf and becoming one himself.

The film, which screened Monday night at the Arclight for the press, stars Benicio Del Toro as Lawrence Talbot, whose destiny is sealed when he visits a gypsy encampment one moonlit night in search of the man “or beast” who has savagely killed his brother, only to encounter a werewolf and suffer the bite that seals his fate.

The film also stars Anthony Hopkins as Talbot’s estranged father whose past is far darker than his prodigal son’s, and Emily Blunt as the dead brother’s fiancée.

I was prepared not to like “The Wolfman” simply because most studio remakes of films in their vaults are abysmal and since one of my favorite horror movies of all time remains Lon Chaney, Jr., in 1941′s “The Wolf Man.” (Maria Ouspenskaya as the Gypsy Maleva delivers a memorable performance).

But ten minutes into the new film I was enthralled by Johnston’s tapestry of production values, the brooding English country estate, the shifting evening skies, the thunderous clip-clop of horses galloping along country lanes, and later in the film the director would deliver marvelous Tim Burtonesque scenes of Victorian London with the werewolf hopping from roof to roof like Spider-Man as a Scotland Yard detective gives chase.

Then I had to admit to myself that this werewolf tale is sort of a letdown, not because the monster isn’t brutal in the extreme (rampaging through a a gypsy encampment, a mental asylum, London’s cobblestone streets) and quite capable of severing heads and limbs with one swipe of its claws while disemboweling everyone in its path, his only worry, silver bullets, but because we’ve seen so many incarnations of werewolves on the big screen over the years that they’ve lost their power to shock us when we finally see them under the moonlight or in front of a flickering fireplace. Their roar may be deafening, their fangs nasty and dripping with the blood of their victims, but once you’ve seen one werewolf, you’ve seen them all.

Another thing that annoys me about this particular film is its struggle to weave a love story into the mix. I walked away wondering: why would a woman of a certain education and class fall in love with a werewolf? You begin to question the sanity of Blunt’s character, who not long after losing her love to an insane killer on the moors falls for his brother, although he is an actor, so that explains some of his allure. She sees what no one else is capable of seeing: that inside that gruff, hairy, brutish exterior beats the heart of a cuddly puppy dog ready to be tamed by her charms.

Yeah, right.

Still, the creature effects are exceptional, and all three actors deliver earnest (too earnest?) performances, and at least no one at the screening muffled a laugh when the Wolfman reared his head and howled at the moon time and time again.

Believe me, it could have been worse.

There’s a funny sliver of dialogue in the classic 1948 horror/comedy “Abbott and Costello Meet Frankenstein” when Lon Chaney, Jr., playing Larry Talbot (a.k.a. the Wolf Man) says to Lou (playing Wilbur): “You don’t understand. Every night when the moon is full, I turn into a wolf.”

Wilbur quips: “You and twenty million other guys.”

At least “The Wolfman” doesn’t have audiences howling and, for that singular accomplishment, Johnston has dodged a silver bullet.

Shelly Johnson, ASC and director Joe Johnston arrived on the scene just three weeks before production was scheduled to begin at Pinewood Studios and practical locations in and around London.

They stepped into the breach after the original director left the scene.
Johnson read the script while flying from Los Angeles to London. He had vivid memories of seeing the 1941 black and white version of The Wolf Man at a revival theater.

The classic thriller takes place during the 1890s when nights were lit by candles, firelight and the moon. As soon as his airplane touched down, Johnson taxied to the studio, met with Johnston and began planning a visual grammar.

They had collaborated on Jurassic Park III in 2001 and Hidalgo in 2004, so Johnson and Johnston hit the ground running as they took the script apart scene by scene.

Benicio Del Toro plays an estranged son who returns home to the family estate to help search for his missing brother. Anthony Hopkins portrays, the father, Sir John Talbot. Emily Talbot is cast in the role of the missing brother’s fiancée.

“It’s a dark movie with many night scenes,” Johnson says. “Joe wants a heaviness in the atmosphere, which the audience feels on a subliminal level.”

When a full moon rises, a character has conflicted feelings as he transitions into a werewolf. Johnson added touches of warm and cool light while filming those scenes.

It’s like non-verbal dialogue which visually punctuates the man’s conflicting emotions.
Johnson added “a pearlescent tone” to the film in collaboration with Jill Bagdanovich, a digital intermediate colorist at Technicolor, in Los Angeles.

“It’s not something the audience notices on a conscious level,” he explains. “It’s a feeling which helps transport them to a time and place where there are werewolves.”