HollywoodNews.com: Creator and Executive Producer Dick Wolf has just announced that “Precious’” Paula Patton will be joining the cast of “Law & Order: Special Victims Unit” for a multi-episode stint as ADA Mikka Von.

Patton, who was nominated for multiple honors including the SAG Award (ensemble), NAACP Image Award (Supporting Actress) and the Critics Choice Award (ensemble) for her role as Ms. Blu Rain in the Oscar winning film “Precious,” will play a charming and savvy ADA who works with the Special Victims Unit on the Wolf Films/Universal Media Studios series, entering its 12th season on NBC.

“Law & Order: Special Victims Unit” premieres September 22 in a new time period, Wednesdays at 9:00 p.m. (ET/PT) on NBC.

“When I saw Paula Patton give that terrific performance in the multi-Oscar nominated Precious, I knew she’d be perfect for SVU’s new Assistant District Attorney — she’s funny, warm and witty with a penchant for justice. And it happened. She’s starting in episode five. How cool is that?” executive producer Neal Baer said.

Patton is currently filming Sony’s “Jumping the Broom” and other credits include the feature films “Just Wright”, “Déjà Vu” and “Swing Vote.”

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HollywoodNews.com: Queen Latifah’s latest film, “Just Wright” may have only brought in $20 million to date, but the singer/actress has a list of accolades a mile long.

Now she’s going to add another one to that list because she is going to be honored at the fourth annual ADCOLOR Awards. ADCOLOR strives to “celebrate the achievements of talented communications professionals who are making a mark in business and giving back to their communities, and to redefine diversity.”

An actress, singer, mogul and entrepreneur, Queen Latifah’s work in music, film and television has earned her a Golden Globe award, two Screen Actors Guild Awards, two Image Awards, a Grammy Award, six Grammy nominations, an Emmy Award nomination, an Academy Award® nomination and a star on the Hollywood Walk of Fame.

Founder of The ADCOLOR Awards, Tiffany R. Warren, stated, “Through her work Queen Latifah is not only redefining diversity but she is redefining success. Queen Latifah is the true definition of an All-Star because her success crosses all genres and industries and we will be honored to highlight her achievements alongside those of our 2010 ADCOLOR Awards recipients.”

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BY KEVIN CRUST

Hollywoodnews.com: A return to Sherwood Forest doesn’t herald any type of rich-to-poor stimulus package so the Man in the Iron Suit will continue to control the box-office lucre. In more modest offerings, the new princess of romance is back and the Queen indulges in some romantic comedy hoop dreams of her own.

ROBIN HOOD

Russell Crowe and Ridley Scott re-team for this origin story of how the Prince of Thieves came to be. Cate Blanchett as Marian and Matthew Macfadyen as the Sheriff of Nottingham are also onboard. Oscar-winner Brian Helgeland wrote the screenplay with Ethan Reiff and Cyrus Voris also receiving story credit.

The historical epic, marketed as “Gladiator” meets Medieval Times, is getting mixed reviews from critics after debuting at Cannes. Kenneth Turan of the Los Angeles Times finds it “simultaneously simplistic and over-plotted, revisionist and predictable.” For the Chicago Sun-Times’ Roger Ebert, the film is not enough like the Robins he has come to cherish (Flynn, Connery, the Disney fox) to justify dusting off the brand. A.O. Scott of the New York Times is even less enthused, declaring the movie “long, bloody, self-serious” and, perhaps, most damning of all, “lumbering.” Several critics. including Peter Travers of Rolling Stone and Michael Phillips of the Chicago Tribune were able to mine some popcorn entertainment from the film’s action.

Scott and Crowe are on a bit of a losing streak and pundits are all over the map, pegging RH to gross anywhere from the mid-$20 millions to as much as $45M. Regardless, the big-budget epic will fall far short of “Iron Man 2,” which should earn  at least $60M in its second week of domestic release bliss. Universal faces a tough path to earn back the rumored $155-200M it has spent on the project.

LETTERS TO JULIET

Amanda Seyfried, following her successful turns in “Mamma Mia” and “Dear John,” now stands as the poster girl for young love at the movies. Here, she acts as a facilitator of the heart, playing a young woman who visits Italy and sets out to find two long ago lovers mentioned in the title missive. The cast also includes Gael García Bernal, Vanessa Redgrave and Franco Nero. Written by Jose Rivera and Tim Sullivan. Directed by Gary Winick.

Predictably, critical response is tepid, but there is some grudging admiration for the film’s straightforwardness and special appreciation for the presence of Redgrave and Nero. Betsy Sharkey of the LA Times sums it up as “a sugary paean to quixotic clichés,” while copping to the pull of its guilty pleasures. The NYT’s Scott is disappointed by the film’s blandness and the fact that it fails to deliver the one thing it promises, love.

Seyfried is red-hot, but without a male counterpart such as Channing Tatum to help sell the film to young women, it figures to underperform “Dear John.” Nevertheless, it’s projected $15-20M against a modest budget should lead to healthy return for Summit Entertainment.

JUST WRIGHT

Queen Latifah stars as a no-nonsense physical therapist who falls for the NBA star (Common) she is helping rehab from a serious injury. Paula Patton (the teacher from “Precious”) plays Latifah’s friend and romantic rival. Written by Michael Elliot and directed by Sanaa Hamri (“Something New”).

A surprising number of critics overlook the filmmakers’ formulaic approach to give it a thumbs up. Ebert admits it follows a forumla, but writes that “a formula that works reminds us of why it became a formula.” The dissenters, including Claudia Puig of USA Today, cite a lack of chemistry between the stars — as well as Common’s inability to transition as smoothly from rap to acting as his co-star, Latifah — for the film’s failings.

Despite the terrible title, the film figures to gross a demographically specific $9-10M this weekend, but don’t expect it to stick around long.

Hollywoodnews.com: Competing storybook romances open in theaters today, and surprisingly, the one that’s centered around the hapless New Jersey Nets competing for an NBA Championship is the more believable of the two.

Letters to Juliet (*1/2 out of 4)

Gary Winick’s “Letters to Juliet” is a sappily-ever-after fairy tale. It’s picturesque, with gorgeous photographs of romantic Verona, Italy. But the action that takes place in the desirable European setting is woefully processed. Even those who wholeheartedly subscribe to the possibilities of true love will gag on the gallons of syrup that ooze off the screen.

At least you know right away this is a fantasy. How else could the movie explain that doe-eyed Sophie (Amanda Seyfried) earns enough money as a fact-checker for The New Yorker to jet-set to Italy on a pre-wedding honeymoon with her workaholic fiancée (Gael Garcia Bernal)? She also has no trouble hanging around the scenic Italian countryside for weeks after she finds a decades-old love letter, befriends lovesick Claire (Vanessa Redgrave) and her petulant grandson, Charlie (Christopher Egan), and accompanies them on a quest to find Claire’s soul mate. In reality, Sophie’s boss (played by an uncredited Oliver Platt) would have fired her on the spot. In “Juliet,” he’s thrilled she returns to Manhattan with a publishable story.

Too bad she couldn’t unearth a filmable script. “Letters to Juliet” defines pre-packaged storytelling. Conflicts in the script are ham-fisted and forced. Resolutions are predictably manufactured. You never once believe any of this could ever happen. Sophie’s story starts with an improbable premise, quickly tumbles into the realm of impossible plot contrivances, and never attempts to recover. Even the film’s alleged payoff — the fateful moment when Claire finally reunites with her long-lost Lorenzo (Franco Nero) that has been spoiled by the trailers and TV commercials — relies on such a lazy, ludicrous coincidence that’s poorly planned and shamelessly executed.

“Letters to Juliet” does things by the book. The story book. To see the trailer is to see the whole film. The only surprise left to discover about “Juliet” is that the script was written by a guy. Two of them, in fact. Blame Jose Rivera and Tim Sullivan, who — according to IMDB.com — haven’t collaborated on any projects prior to “Juliet.” And if there’s goddess up in heaven reading this review, she’ll make sure they never collaborate on anything as simplistic as this, again.

Just Wright (** out of 4)

Equally fantastical yet a smidge more believable is Sanaa Hamri’s romantic “Just Wright,” which stars a commendably tender Common (“Wanted”) as an ailing NBA star torn between gorgeous gold-digger Morgan (Paula Patton) and kind-hearted athletic trainer Leslie (Queen Latifah).

Choosing between the two shouldn’t be difficult. Leslie’s a die-hard Nets fan, and a sweet girl who exudes charm, personality and class. As for Morgan, she looks like Paula Patton, which is a decided advantage!

We all know just where “Just Wright” is going. Hollywood wouldn’t let Common choose Patton over Latifah (and the “Precious” star does an excellent job of uglying her personality so we can look past her natural beauty and root against her). And it takes long time to get to its destination, distracting us with NBA cameos (it seems like the Nets perpetually were playing Dwight Howard and the Orlando Magic). But Latifah’s so likable, and she truthfully connects with Common. In the realm of romantic comedies, “Just Wright” is just alright.