Watch Patrick Swayze's Lost '70s Commercial for Pabst Blue Ribbon

.publish-content img The only real factor much better than the truth that Patrick Swayze once starred inside a 'Saturday Evening Fever'-inspired commercial within the seventies? The commercial was for Pabst Blue Ribbon beer -- that was then distributed and offered in glass bottles instead of hipster-approved silver cans. This is actually the finest factor you will see all day long. (Unless of course you are watching highlights from Game 6 around the globe Series right now.) Oddly, this clip was submitted in June, but just begun making the web models because of Jezebel and Buzzfeed. Pause here to assume such a dance-off between Tony Manero and Johnny Castle would seem like. Also, apologies to get that PBR jingle stuck inside your mind for that relaxation during the day. [Jezebel via Buzzfeed] Patrick Swayze Wax Statue Unveiling See All Moviefone Art galleries » Follow Moviefone on Twitter Like Moviefone on Facebook RELATED

9 Milestones in the Evolution of Antonio Banderas

In this weekend’s Puss in Boots, Antonio Banderas voices the swashbuckling title cat — a peripheral Shrek character who became so popular that he earned his own $130 million DreamWorks prequel. So just how did Antonio Banderas transform himself from Madonna’s sexual prey in Truth or Dare to a sword-wielding predator in both live-action and animated formats? You can always trace a direct line through a few important roles to illustrate what led to an actor’s current success. As such, let’s look at nine pivotal performances that track the evolution of Antonio Banderas. Labyrinth of Passion (1982) After an injury curbed his dreams of becoming a professional soccer player, a teenage Banderas enrolled in drama classes in Spain and started performing onstage. It was during a theatre production that the young actor caught the eye of future auteur Pedro Almodvar, who cast the 22-year-old actor in his second film (and Banderas’s first) Laberinto de Pasiones. The Madrid-set screwball comedy features the up-and-comer as a gay terrorist who uses his enhanced sense of smell to track down a Prince with whom he had fallen in love. Tie Me Up! Tie Me Down! (1990) After three more collaborations with Almodvar — in Law of Desire, Matador and Women on the Verge of a Nervous Breakdown — Banderas joined the filmmaker again for the controversial tame! that would give Banderas his first international exposure. The actor stars as a recently-released psychiatric patient who kidnaps a porn actress (Victoria Abril) in order to make her fall in love with him. Although the film was a success with critics and viewers in Spain, its release in the United States was fraught with controversy and initially garnered an X rating for scenes involving sex, urination and the main female character masturbating with a scuba diver toy. Truth or Dare (1991) After boosting his international profile with the racy Tie Me Up!, Madonna introduced Banderas to the world, quite literally, in her documentary Truth or Dare. Via voiceover, the pop icon tells her audience, “Antonio Banderas is this Spanish actor that I’ve had a crush on for two years. He’s been in all of Pedro Almodvar’s movies. I love Pedro’s movies. I’ve seen every movie that Antonio has ever done. I have to say he is one of the few actors that I was really dying to meet.” Formal American introduction: Check!

Kristen Wiig, Judd Apatow and Co. Offer 9 Things You Didn't Know About Bridesmaids

For the first time since Bridesmaids premiered this past spring, the comedy’s filmmakers and cast gathered last night in Hollywood for a special Screen Actors Guild Awards screening of their surprise box office smash. Afterward, Judd Apatow (who executive produced the film) moderated a Q&A panel comprising stars Kristen Wiig, Maya Rudolph, Melissa McCarthy and Wendi McLendon-Covey as well as Annie Mumolo, who co-wrote the film with Wiig. What transpired was an entertaining discussion about the movie “that changed female comedy.” The most exciting revelations follow. 1. Many of Kristen Wiig’s onscreen trials and tribulations are based on the real-life experiences of co-writer Mumolo — including the P.O.S. car. Mumolo: I did drive that car except mine had the two rearview mirrors hanging off the side and one was sort of duct-taped on. That was my car. Wiig: Annie was a bridesmaid, I think, seven times in two years. She’s really popular. Mumolo: Not anymore. But yeah, I was a bridesmaid seven times. One time, two [weddings] at once. I had the experience of watching all of your friends working it out and doing it but not doing it yourself in any way, shape or form. [I remember] going to these fancy engagement parties and coming back to my apartment and having to crawl through the window because the door swells with the weather. You’d have to pull out the air conditioner and climb in — with all of these fancy party favors. Stuff like that. 2. Wendi based her character on horrible moms everywhere — including the ones on Bravo. Apatow: You fake hatred for kids well. McLendon-Covey: That’s because so many people I meet and eavesdrop on — that’s one of my special skills on my resume — talk so badly about their kids. It’s just horrifying. You think, “Okay, well someone’s going to kill you in your sleep.” The Real Housewives of Orange County — I take a lot of material from them because those bitches just cannot be placated. They cannot be happy about anything. They’re all rich. They have perfectly nice husbands and they just hate every minute of it.” 3. Rose Byrne had little to no actual bridesmaid experience when she joined this movie. McLendon-Covey: Poor Rose. She’s from Australia and they don’t do this in Australia. They don’t have bridal showers and all of this stuff. She was like, “What are you talking about? I don’t know what that is.” But she sure picked up on it. 4. All onscreen defecation was real. (Just kidding) Apatow: [Joking] But you did actually poop on the street. Because you’re method, like De Niro. Rudolph: That was real everybody. Apatow: Melissa too. All real. McCarthy: It was important for me to make that realistic. 5. At one point, Melissa McCarthy’s character was supposed to be even crazier. Wiig: We didn’t want to make [Megan] too crazy. At one point I remember we were like, “Should she only dress in rockabilly [clothing]?” McCarthy: I actually had a four-hour fitting for a rockabilly wardrobe, which was really unflattering. Feig: We should publish those pictures because I’ve never seen you look less happy. Wiig: A lot of black bowling shirts with flames. Caring so much about the character, it was that we wanted her to look a certain way but be feminine. […] She could have really long fingernails and wear a pearl necklace but also have a carpal tunnel wrist brace on her arm… Feig: …that is never explained. 6. Ellie Kemper cannot lie about a bad haircut. Wiig: [to McCarthy] Remember you had that [very short] wig on and Ellie, who is the most polite person in the world, thought you had cut your hair. McCarthy: I was in the trailer and Ellie is kind of exactly like she seems in the movie — but smarter, greater and not as crazy. I came in and Ellie [saw my hair] and said [in spot-on Ellie Kemper impression], “Oh! Hi! Look what you did!” I just let her hang. I had a random conversation about traffic because I could tell in her head, she was like “Ohhhhh.” Finally, I said, “You know it’s a wig, right?” And said “Oh! Oh! God.” 7. The dress fitting scene laden with bathroom humor was not Kristen Wiig’s idea. Wiig: Judd and Paul threw it out when we were doing a lot of rewrites. You want to have really funny things in the movie but the most important thing is the story. We had to figure out how my character messes up again and again and slowly drives Lillian insane. We had a whole other scene that was in there for awhile and we really needed to up the stakes. Judd said, “You know, they go to a restaurant before [the dress fitting]. Maybe it’s a really bad restaurant and something happens.” Initially, Annie and I were like, “Uh, so there is going to be throwing up and shit? OK.” But to Paul and Judd’s credit, it was done in a very nurturing way. They said, “Write your version. If it works, it works.” So Annie and I sat down and wrote…”and then Megan gets up on the sink.” 8. Speaking of the disastrous sink incident, Melissa McCarthy had to do an official jump test before shooting. McCarthy: I kept thinking [the sink sequence] will probably go away before we shoot. Then there was the moment where they said, “We need you to come and do a jump test to see if the sink is the right height.” The crew guys who had not read the script were looking around like, “What the hell is about to happen?” It was about two hours. They would say, “You’re pretty short and a regular vanity would come up to about here.” I was like, “Why am I having this conversation about my jumping ability!?” Feig: There were some seriously technical discussions about shitting in a sink. 9. Megan and Air Marshall Jon are married in real life. McCarthy: My favorite scene [to shoot] was the plane. Kristen kept coming through the [first class curtains] with a completely different character — all so funny. At one point, we had to realize that we couldn’t just be laughing through the takes. And also because I got to work with my husband. Feig: For those of you who don’t know, Air Marshall Jon is Melissa’s real-life husband. Ben Falcone, SAG member. He’s vested! [Photo: Getty Images] Follow Julie Miller on Twitter. Follow Movieline on Twitter.

REVIEW: Impressive Cast Mills About Listlessly in Dumb, Lumpy 13

Alfred Hitchcock and Cecil B. DeMille might have been able to successfully redo their own movies, but more recent auto-remakes, especially ones that find directors cranking out a U.S. version of their own foreign-language hit, have been a motley crew. The best, like Michael Haneke’s 2007 Funny Games and Takashi Shimizu’s The Grudge, tend to be merely functional enterprises that revisit what worked the first time around with added English-speaking and possibly more famous actors. But others highlight in a painfully clear way the compromises that so often come with working in Hollywood. Ole Bornedal’s wan Nightwatch lost the nasty edge of the Danish original and retained no other distinguishing characteristics, and George Sluizer’s 1993 The Vanishing ditched the finale of his 1988 Spoorloos, an uncompromisingly bleak and great ending, for a studio-friendly happy one that undoes everything toward which the first film built. So 13, Gla Babluani’s remake of his own French 2005 thriller about an underground Russian roulette ring 13 Tzameti, doesn’t come from the most promising tradition, before you even take into account that it’s been bumping around in international release for well over a year. It does at least have an impressive — really, kind of amazing — cast. Sam Riley, so good as Ian Curtis in Control, is the nave lead, Vince. Michael Shannon, Jason Statham, Ray Winstone, Mickey Rourke, Alexander Skarsgrd and Ben Gazzara all appear, as do, somewhat less remarkably, 50 Cent and Emmanuelle Chriqui. Few of these folks make an impression, which isn’t really their fault (except for 50 Cent, who delivers his lines with a singularly enervating lack of intonation) so much as it’s a function of how the film is structured. Both the original and this new 13 are, depending on your worldview, either odd variations on the deadly tournament formula or bleak ones on extreme gambling, but they are also about a group of desperate men who don’t have a lot of time to spend talking about their feelings. At least they shouldn’t. This actually becomes part of the problem with 13: This is a lumpy, dumb, suspenseless thing that sometimes scarcely feels finished. The original gets most of its juice from its minimalism — done in black-and-white and starring Babluani’s brother George in his first acting role, it lets the audience in on its premise only when its main character figures it out, after he’s taken the place of his smack-addicted employer and disappeared down a very dangerous rabbit hole. This 13 starts off with a cheap-looking title card, followed by a shot of money being counted and then a flash of Vince and another man pointing guns at one another, as if the audience would drift away if they weren’t promised violent intrigue right off the bat. And they might — the film’s introduction listlessly outlines the tough situation in which Vince’s family has ended up, having had to sell their house to pay for his father’s medical care, and cuts in backstory for Statham’s Jasper, a shady figure who borrows $2 million for purposes we’ll soon learn. Neither thread offers much interest. 13 may actually have been undone by its own added resources and flashier cast. The beefing up of Jasper’s storyline, which unfolds over awkward flashbacks to show his retrieving of his brother Ronald (Winstone) from a mental institution, and the even more clumsily handled background on Rourke’s Jefferson, who is shown to have been retrieved from a prison in Juarez, do 13 no favors. The film grinds to a halt with each jump back in time, which seem to have been put there primarily to placate the stars in these roles by giving them more to work with. A drama about a Russian roulette tourney is a less-is-more proposition — the more detail that’s offered, the more questions come to mind and the more you start to believe, as is inevitable in this case, that the premise is hopelessly silly and hardly warrants this kind of steady seriousness. Shannon vampily oversees the proceedings, dictating the rules, which involve increasing the number of bullets and the odds of death in each round, and waiting for the illumination of a lightbulb before firing. Ronald reveals himself to be Vince’s primary rival, though he, like many of the participants, likes to retain an illusion of control. There’s talk of the value of experience, of skill, as if what’s at play here were anything other than blind luck. It’s actually the one thing that could have benefited from more exploration in what has to be the most inert film about millionaires betting on the ritualized shootings of morphine-addled outcasts ever — the way these men have chosen to look at and, in some way, normalize the barbaric thing they’re doing. That it’s left hanging is just another reason 13 is such a disappointment. Nothing to see here.

The Magazine Cover of the Year Award Goes to... James Franco's Ass

James Franco loves his little stunts, and this one’s an Evel Knievel-grade spectacle: On the new issue of L.A.’s Flaunt magazine, Franco graces two different covers — one where he’s staring innocently from a school desk (boring), and another where his naked ass crowds the lens, boasts a tramp stamp, and looks like it’s about to speak. Need I say more? Click through for the cover. First, here’s the benign cover in all its classic kindergarten appeal: And now, here’s the assy glossy. Art! Speaking of ass, this could’ve been the one-sheet for Your Highness. Terrible. James Franco’s Ass Gets a Magazine Cover [Jezebel]

In the Family

An In the Family release and production. (International sales: In the Family, NY.) Produced by Andrew van den Houten, Robert Tonino, Patrick Wang. Directed, written by Patrick Wang.With: Patrick Wang, Trevor St. John, Sebastian Brodziak, Brian Murray, Kelly McAndrew, Peter Hermann, Park Overall, Susan Kellermann, Elaine Bromka, Zoe Winters, Eisa Davis, Chip Taylor, Eugene Brel.A powerful study of a gay man seeking custody of the child he raised with his recently deceased partner, "In the Family" marks a remarkable debut by legit writer-director-actor Patrick Wang. A beautifully written and performed plea for understanding on hot-button moral and legal issues, the pic is perfectly pitched to engage the emotions and provoke discussion among fair-minded viewers of all persuasions. Lengthy running time reps a commercial challenge, but Wang justifies every minute. Self-funded, self-distribbed drama should attract the positive word of mouth and critical kudos to broaden its release from a single Gotham screen on Nov. 4. Surely the first film about an Asian-American man involved in a same-sex relationship in Tennessee, the tale recalls the social realism of John Cassavetes with long takes in which silence and the faces of those in emotional pain are as potent as words. Pic's stationary-camera aesthetic and naturalistic tone are carefully established in the opening images showing Joey Williams (Wang) engaging in delightful morning play with Chip (Sebastian Brodziak), a lively 6-year-old. Slowly, it is revealed that Joey's long-term partner is Chip's biological father, schoolteacher Cody Hines (Trevor St. John), who is shortly thereafter killed in an offscreen car accident. A home renovator and restorer of old books, Joey assumes he can continue to care for Chip; Cody's family has embraced Joey ever since the two men's relationship (shown in flashback) began, seven months after Chip's mother died in childbirth. But Cody's will, which predates his time with Joey, has named the boy's aunt Eileen (Kelly McAndrew) and uncle Dave (Peter Hermann) as his guardians. Suddenly, a restraining order is taken out against Joey, and Chip is removed to Eileen and Dave's care. The film's winning ingredient is the manner in which Joey approaches the daunting task of obtaining custody. Without any crusading speeches, Wang portrays Joey as a decent, ordinary guy who doesn't understand legal and financial complexities, and simply wants to get Eileen and Dave to talk about the situation. How he works toward this with the help of wealthy, retired lawyer Paul Hawks (Brian Murray) will move many viewers with its dignity and restraint. Using only 300 shots, several of which exceed 10 minutes, Wang's meticulously modulated storytelling never flags, and he elicits excellent performances from an ensemble consisting mainly of thesps with notable backgrounds in theater. Child actor Brodziak is marvelous as the clever, high-spirited boy at the center of the storm. "In the Family" was lensed in Yonkers, N.Y., and its very few exteriors effectively substitute for the well-chosen Tennessee setting, where the attitudes of many characters may surprise auds bearing preconceived notions about Southern bigotry. Lenser Frank Barrera's subtle lighting and the simple yet effective work by production designer John El Manahi and costume designer Michael Bevins couch extraordinary emotional terrain in the most normal of surroundings. Other tech work is pro.Camera (color, HD-to-35mm), Frank Barrera; editor, Elwaldo Baptiste; music, Chip Taylor, Andy Wagner; production designer, John El Manahi; art director, Jaime Rosegren; costume designer, Michael Bevins; sound (Dolby Digital), Johnny Marshall; line producer, Matt Miller; associate producer, Barrera; assistant director, Miller; casting, Cindi Rush. Reviewed at Hawaii Film Festival (Express Yourself), Oct. 17, 2011. (Also in San Diego Asian Film Festival.) Running time: 169 MIN. Contact the Variety newsroom at news@variety.com

Weekend Receipts: Paranormal Activity 3 Notches Abnormally Big Premiere

Some of us were too busy this weekend taking in Martha Marcy May Marlene and Margin Call to bother with such plebeian fare as Paranormal Activity 3, but I suppose I’ll acknowledge the found footage thriller’s big feat this weekend: Not only did it jazz up a comatose box office, it also notched the highest opening ever for a horror movie. Fancy! Click through for all the notable grosses and help me lament Johnny English’s stateside downfall. 1. Paranormal Activity Gross: $54,020,000 Screens: 3,321 Weeks: 1 Other facts about this bank-breaker: It’s the highest opening since July’s Harry Potter and the Deathly Hallows - Part 2 and it opened bigger than Paranormal Activity 2, which is an anomaly in terms of sequel grosses. Otherwise? It’s not a particularly well-reviewed film and we should all start thinking about MANSON-LIKE CULTS WITH DOWNTRODDEN OLSENS IN THEM. Just a hint. 2. Real Steel Gross: $11,319,000 ($67,226,640) Screens: 3,412 Weeks: 3 People keep seeing Real Steel, and it’s time we come to terms with it. I’ll justify it this way: The combination of a gritty underworld and emotional robots is just like that great new Rihanna video “We Found Love.” Drugs! Rihanna’s robo-whine! Rihanna is the closest thing we have to a sign of the robot apocalypse. Anyway, “We Found Love” just needs Hugh Jackman’s stoic stare and it’s looking at a $70 million gross. 3. Footloose Gross: $10,850,000 ($30,863,031) Screens: 3,555 Weeks: 2 Footloose is scaring up some decent reviews for being a by-the-book rehashing and a formulaic morality tale. Everything you need to know about Footloose can be gleaned in the video for Big and Rich’s “Fake ID,” which takes place during one of the movie’s key hootenannies. Boots-a-bustlin’. 4. The Three Musketeers Gross: $8,800,000 Screens: 3,017 Weeks: 1 Logan Lerman, please cue up your nervous giggles, because this is an unsightly total. Apparently Orlando Bloom’s fighter mettle, Christoph Waltz’s ravishing cardinal costume, and 3-D swashbuckler gymnastics weren’t enough to win an eight-figure receipt. More like Alexander Doom-as! 5. The Ides of March Gross: $4,900,000 Screens: 2,042 Weeks: 3 CHALLENGE: Rank the six lead performances in this movie worst to best. Here I go: 6) Evan Rachel Wood, 5) Ryan Gosling, 4) George Clooney, 3) Philip Seymour Hoffman, 2) Paul Giamatti, 1) Marisa Tomei. Guys, Marisa killed it. I hate that the movie’s title is a pun on her character’s name (Ida), but Tomei’s performance as a persistent, but fair NYT journalist makes this movie’s drama seem plenty more credible than its politicians. —- 8. Johnny English Reborn Gross: $3,800,000 Screens: 1,552 Weeks: 1 Either Rowan Atkinson isn’t a draw to American audiences (since his new movie finished behind weeks-old features Moneyball and Dolphin Tale), or we’re all just jilted that Natalie Imbruglia didn’t return for the Johnny English sequel. “Wishing I Was There” with her, indeed.