Dakota Fanning

Kristen Stewart and Dakota Fanning star as Joan Jett and Cherie Currie in The Runaways, the music-fueled, coming of age story of the groundbreaking, all girl 1970's rock band. Written and directed by Floria Sigismondi, Apparition will release the film on March 19, 2010.Los Angeles 1975, Joan Jett (KRISTEN STEWART) and Cherie Currie (DAKOTA FANNING), two teenage valley girls with punk in their blood, meet and become the heart and soul of the seminal all girl band, The Runaways. Floria Sigismondi brings The Runaways to the big screen in this story of a group of extraordinary young women as they rise from rebellious Southern California kids to rock stars of the now legendary band that paved the way for future generations of girl musicians. Under the Svengali-like influence of rock impresario Kim Fowley (MICHAEL SHANNON), the group evolves into an outrageous success and a family of misfits. With its tough-chick image and raw talent, the band quickly earns a name for itself-and so do its two leads: Joan is the band's pure rock' n' roll heart, while Cherie, with her Bowie-Bardot looks, is the sex kitten.Soundtrack features classic music from The Runaways, plus Runaways songs performed by Dakota Fanning & Kristen Stewart. Also, music from Joan Jett, David Bowie, The Stooges, MC5 and more.

Original soundtrack to the 2010 motion picture featuring classic music from The Runaways, plus Runaways songs performed by Dakota Fanning and Kristen Stewart. Also includes music from Joan Jett, David Bowie, The Stooges, MC5 and others. Kristen Stewart and Dakota Fanning star as Joan Jett and Cherie Currie in The Runaways, the music-fueled, coming of age story of the groundbreaking, all girl 1970s Rock band.

ELFMAN DANNY CHARLOTTE`S WEB

For this live-action adaptation of E.B. White's beloved bestseller, Danny Elfman has written his loveliest score in ages. There's no trace of the sardonic, manic pulse that beats beneath so much of his work: here, he proves he can do sweet without doing saccharine. The breezy orchestrations and low-key themes combine to make the score stand out in the kids' genre, and it's one many movies for grownups wouldn't sneeze at either. As such, it's closer to Joe Hisaishi's pastoral compositions for the Hayao Miyazaki anime masterpiece My Neighbor Totoro and to Nigel Westlake's music for Babe than to your average overblown kiddie blockbuster. Yes, there's the obligatory ballad--in this case "Ordinary Miracle," cowritten by Dave Stewart of the Eurythmics and performed by Sarah McLachlan--but it's rather subtle. Call us sentimental, but we even prefer the less-high-profile vocal track on this CD: Dakota Fanning's plaintive "Lullaby" in "Lullaby/Escape." --Elisabeth Vincentelli

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I Am Sam makes you laugh, cry, and recoil all at the same time. Perhaps no other film of recent memory has epitomized the shameless sentimentality of Hollywood as succinctly as director and screenwriter Jessie Nelson's story of a mentally challenged man fighting to retain custody of his 7-year-old daughter. Sam (Sean Penn), who has the mental age of 7, wipes down tables at a Los Angeles Starbucks and takes good care of his daughter Lucy (Dakota Fanning), who was left with him shortly after birth by a homeless woman. Sam has gotten by just fine with a little help from his friends, including his eccentric neighbor (Dianne Wiest) and a lovable group of similarly challenged friends, but a series of misunderstandings leaves Sam fighting to get Lucy back from the state. Sam's lawyer, Rita Harrison (Michelle Pfeiffer), is an overly ambitious woman whose life is soon transformed by proximity to Sam's brimming humanity. Sean Penn is, as usual, wholeheartedly committed to his role and turns in an admirable, if overtly affected performance. However, I Am Sam, with all its earnest charm, reaches an emblematic low when Sam, a character apparently devoid of any authentic sentiment, delivers a courtroom speech memorized from Kramer vs. Kramer as the film's finale. --Fionn Meade

I Am Sam makes you laugh, cry, and recoil all at the same time. Perhaps no other film of recent memory has epitomized the shameless sentimentality of Hollywood as succinctly as director and screenwriter Jessie Nelson's story of a mentally challenged man fighting to retain custody of his 7-year-old daughter. Sam (Sean Penn), who has the mental age of 7, wipes down tables at a Los Angeles Starbucks and takes good care of his daughter Lucy (Dakota Fanning), who was left with him shortly after birth by a homeless woman. Sam has gotten by just fine with a little help from his friends, including his eccentric neighbor (Dianne Wiest) and a lovable group of similarly challenged friends, but a series of misunderstandings leaves Sam fighting to get Lucy back from the state. Sam's lawyer, Rita Harrison (Michelle Pfeiffer), is an overly ambitious woman whose life is soon transformed by proximity to Sam's brimming humanity. Sean Penn is, as usual, wholeheartedly committed to his role and turns in an admirable, if overtly affected performance. However, I Am Sam, with all its earnest charm, reaches an emblematic low when Sam, a character apparently devoid of any authentic sentiment, delivers a courtroom speech memorized from Kramer vs. Kramer as the film's finale. --Fionn Meade

The Cat in the Hat is a marketing ploy disguised as a wildly designed movie for hyperactive kids, and it could use a dose of Ritalin. It hardly matters, though, because kids will surely enjoy the rampant romp that occurs when the top-hatted feline convinces young Sally (Dakota Fanning) and Conrad (Spencer Breslin) to wreak havoc in the home their mother (Kelly Preston) has neatly prepared for an upcoming party. It's all in the name of fun, and while Seuss's classic rhymes are relegated to voice-over narration, director Bo Welch capitalizes on his background as one of Hollywood's most gifted production designers (with credits including Edward Scissorhands and Men in Black), turning the Seussian town of "Anville" into a playful pastiche of pastels. As played by Mike Myers under layers of fur and latex, Dr. Seuss's mischievous Cat is mayhem personified, and the movie suffers from his anything-goes approach to getting a laugh. And though Myers delivers a few laughs while channeling voices from his own comedic repertoire (including "Coffee Talk" maven Linda Richman), a little of this Cat goes a long way, and he nearly wears out his welcome. --Jeff Shannon

Studio: Uni Dist Corp. (summit) Release Date: 03/20/2010 Run time: 130 minutes Rating: Pg13

New Moon, the second in Stephenie Meyer's blockbuster teen-fiction saga adapted for film, is stronger than its predecessor, Twilight. Director Chris Weitz (The Golden Compass), taking the helm from Catherine Hardwicke, brings a lighter, more assured touch to the sequel, which continues the star-crossed love story of mortal Bella (Kristen Stewart) and vampire Edward (Robert Pattinson). Incidentally, Edward is absent for most of the film; after an accident on Bella's birthday reminds Edward that her life is always at risk when he's around, he chooses to abandon her, sending her into a deep depression. The only person who helps her heal her broken heart is her friend Jacob (Taylor Lautner), a member of the Quileute tribe who, as he grows taller, beefier, and more aggressive (with less clothing), comes to realize he's not entirely human either. But even his love for Bella doesn't prevent her from throwing herself in the path of danger, because that's the only time she can see visions of Edward. One such fateful misunderstanding sends Edward into the coven of the Volturi (a sort of vampire Mafia, if you will), where the most dangerous vampires hold both Edward and Bella's fate in their cold, dark hands. Much of New Moon rests on the shoulders of Lautner, so scrawny in Twilight, who famously packed on the muscle to avoid getting recast. He's very nearly successful in carrying the load, but the cheese-tastic beefcake scenes disservice him, and Jacob and Bella's complicated friendship stumbles on its way to any kind of love triangle. Some of that blame lies with Stewart, who understandably holds her emotions close to her chest but reveals much too little (c'mon, even an angsty girl has to be a little joyful in the arms of two different hunks). As is with the book, the film is just a bridge between sagas, so the plot drags and not a lot happens. Fortunately, while Twilight was trapped in its own self-consciousness, the wobbly-legged cast seems to have found stronger footing in New Moon; the jokes come faster, the writing (by Melissa Rosenberg, who also scribed Twilight) is a hair wittier. (Even Pattinson seems more comfortable in Edward's skin.) The Volturi, highlighted by Michael Sheen's Aro and Dakota Fanning's Jane, also make an all-too-brief impression, but at least there's more to look forward to when Eclipse, the third installment, is released. --Ellen A. KimStills from The Twilight Saga: New Moon (Click for larger image)

Inspired by the Jane Volturi outfit worn by Dakota Fanning in New Moon, the second of the Twilight Saga film adaptations, this cloak/coat/gown combination is made from a smooth black velvet material (fairly lightweight) and then lined in black satin, including the hood. It closes in at the neckline with a long tie made from the same black velvet material as the body of the cloak/coat. It's length on you will depend on your own height, of course, but in the film, Jane Volturi wore it slightly lower than the knees. *This coat/cloak is somewhat flexible in terms of sizing: There is a slight give to the velvet it is made from, so it can stretch between sizes if need be. The following measurements are the approximate unstretched measurements of the garment. SMALL: Length (from shoulder at nape to bottom hem: 35", Length of cowl (overhanging flap from the shoulders): 13", Arm Length: 23", Bicep width: 16", Chest when closed: 52", Hips when closed: 64" MED: Length (from shoulder at nape to bottom hem: 36", Length of cowl (overhanging flap from the shoulders): 14", Arm Length: 24", Bicep width: 17", Chest when closed: 54", Hips when closed: 66" LARGE: Length (from shoulder at nape to bottom hem: 37", Length of cowl (overhanging flap from the shoulders): 14.25", Arm Length: 24.5", Bicep width: 18", Chest when closed: 56", Hips when closed: 68" XL / 1X: Length (from shoulder at nape to bottom hem: 39", Length of cowl (overhanging flap from the shoulders): 14.75", Arm Length: 25", Bicep width: 19", Chest when closed: 58", Hips when closed: 70" 2X: Length (from shoulder at nape to bottom hem: 39.5", Length of cowl (overhanging flap from the shoulders): 14.75", Arm Length: 25", Bicep width: 21", Chest when closed: 60", Hips when closed: 72" 3X: Length (from shoulder at nape to bottom hem: 40", Length of cowl (overhanging flap from the shoulders): 15", Arm Length: 26", Bicep width: 22", Chest when closed: 62", Hips when closed: 74"

Inspired by the Jane Volturi outfit worn by Dakota Fanning in New Moon, the second of the Twilight Saga film adaptations, this cloak/coat/gown combination is made from a smooth black velvet material (fairly lightweight) and then lined in black satin, including the hood. It closes in at the neckline with a long tie made from the same black velvet material as the body of the cloak/coat. It's length on you will depend on your own height, of course, but in the film, Jane Volturi wore it slightly lower than the knees. *This coat/cloak is somewhat flexible in terms of sizing: There is a slight give to the velvet it is made from, so it can stretch between sizes if need be. The following measurements are the approximate unstretched measurements of the garment. SMALL: Length (from shoulder at nape to bottom hem: 35", Length of cowl (overhanging flap from the shoulders): 13", Arm Length: 23", Bicep width: 16", Chest when closed: 52", Hips when closed: 64" MED: Length (from shoulder at nape to bottom hem: 36", Length of cowl (overhanging flap from the shoulders): 14", Arm Length: 24", Bicep width: 17", Chest when closed: 54", Hips when closed: 66" LARGE: Length (from shoulder at nape to bottom hem: 37", Length of cowl (overhanging flap from the shoulders): 14.25", Arm Length: 24.5", Bicep width: 18", Chest when closed: 56", Hips when closed: 68" XL / 1X: Length (from shoulder at nape to bottom hem: 39", Length of cowl (overhanging flap from the shoulders): 14.75", Arm Length: 25", Bicep width: 19", Chest when closed: 58", Hips when closed: 70" 2X: Length (from shoulder at nape to bottom hem: 39.5", Length of cowl (overhanging flap from the shoulders): 14.75", Arm Length: 25", Bicep width: 21", Chest when closed: 60", Hips when closed: 72" 3X: Length (from shoulder at nape to bottom hem: 40", Length of cowl (overhanging flap from the shoulders): 15", Arm Length: 26", Bicep width: 22", Chest when closed: 62", Hips when closed: 74"

Inspired by the Jane Volturi outfit worn by Dakota Fanning in New Moon, the second of the Twilight Saga film adaptations, this cloak/coat/gown combination is made from a smooth black velvet material (fairly lightweight) and then lined in black satin, including the hood. It closes in at the neckline with a long tie made from the same black velvet material as the body of the cloak/coat. It's length on you will depend on your own height, of course, but in the film, Jane Volturi wore it slightly lower than the knees. *This coat/cloak is somewhat flexible in terms of sizing: There is a slight give to the velvet it is made from, so it can stretch between sizes if need be. The following measurements are the approximate unstretched measurements of the garment. SMALL: Length (from shoulder at nape to bottom hem: 35", Length of cowl (overhanging flap from the shoulders): 13", Arm Length: 23", Bicep width: 16", Chest when closed: 52", Hips when closed: 64" MED: Length (from shoulder at nape to bottom hem: 36", Length of cowl (overhanging flap from the shoulders): 14", Arm Length: 24", Bicep width: 17", Chest when closed: 54", Hips when closed: 66" LARGE: Length (from shoulder at nape to bottom hem: 37", Length of cowl (overhanging flap from the shoulders): 14.25", Arm Length: 24.5", Bicep width: 18", Chest when closed: 56", Hips when closed: 68" XL / 1X: Length (from shoulder at nape to bottom hem: 39", Length of cowl (overhanging flap from the shoulders): 14.75", Arm Length: 25", Bicep width: 19", Chest when closed: 58", Hips when closed: 70" 2X: Length (from shoulder at nape to bottom hem: 39.5", Length of cowl (overhanging flap from the shoulders): 14.75", Arm Length: 25", Bicep width: 21", Chest when closed: 60", Hips when closed: 72" 3X: Length (from shoulder at nape to bottom hem: 40", Length of cowl (overhanging flap from the shoulders): 15", Arm Length: 26", Bicep width: 22", Chest when closed: 62", Hips when closed: 74"

Stephenie Meyer's story continues with Eclipse, the third movie in the Twilight saga. The Barbie Collector Twilight Saga Eclipse Jane Doll: Pink Label Collection was inspired by characters from Meyer's #1 New York Times bestselling book series. The Twilight Saga brings Jane, the sixth doll in the Barbie Collector Twilight series. A part of the Volturi clan, Jane is dressed in her black cloak with hood. The Jane character was portrayed by Dakota Fanning in the film. It's perfect for Barbie collectors and Twilight fans alike.Product Dimensions: 6 (L) x 3.4 (W) x 13 (H)Age: 6 years and up

Now you can own Coraline's doll from the movie! Director Harry Selick's stop-motion movie adaptation of Neil Gaiman's Coraline is in theaters now, and this replica of Coraline's doll is both highly detailed and movie accurate. Measuring 10" long, it lovingly reproduces the doll seen in the Coraline film.

This set has PRINTED signatures of the following cast members: Kristen Stewart Dakota Fanning Kellan Lutz Edi Gathegi Charlie Bewley