Seen The Avengers? Good. So, here are your options for movie watching this week as they have presented themselves in trailer form. Mashup by Sara Gardephe.

Oren Peli's Paranormal Activity 3 is supposed to be pretty good, which makes sense. The first looked like a proof of concept rather than an actual movie, and the second was obviously a swift cash-in. With a bit of time and money, things had to improve for what was essentially a really good idea. Chernobyl Diaries is Peli's next step toward making a proper movie, but it's not such a good idea. It's spam in a cabin, but the cabin is Chernobyl, the city devastated in 1986 by the world's worst ever nuclear meltdown. Here's a video. Too soon for an exploitation flick, some say, but in the end, Chernobyl is simply the backdrop to a trailer that could be for just about any teens-in-trouble horror movie ever made.



Speaking of 1986, welcome back, Emma Thompson. She's taken over from Rip Torn as head of the Men in Black operation, and to an undemanding ear her accent suggests sensitive authority. That's appropriate enough since the romantic plot, as everyone knows by now, is to do with Will Smith rescuing the love of his life, Tommy Lee Jones, from non-existence. MiB2 failed because it was played solely for gags. This trailer for MiB3 suggests there's gratifyingly more going on than a Rick Baker creature feature and a couple of pratfalls. Once again, there's no Rip Torn, damn it, but Josh Brolin seems an appropriate substitute.



Cowgirls n' Angels is apparently a sun-drenched fantasia about a kid who wishes to compete in rodeos. Producers of the movie, designed exclusively for female children who like horses, would have been able to predict its revenue take to the dollar before a single frame was shot. The trailer simply lines up its attractions: non-threatening but chipper girl child, horse, handsome boy, more horses, sunshine, lots of it, and as an aging cowboy, James Cromwell. Well done, pigs, well done.



Want the definition of arch? Watch the trailer for Moonrise Kingdom, the story of a couple of 12-year-olds who fall in love in some faded Kodak-tint version of the '60s. Doesn't mean the movie doesn't look brilliant, but divested of the connective tissue between the various scenes of smarty-pants kids and megastars playing baroque comedy versions of themselves, it is in danger of setting your teeth on edge. Bruce Willis, Tilda Swinton and Ed Norton are from the tier of actors you might expect to join one of those parties director Wes Anderson and Bill Murray throw every once in a while.



Demonstrating that hipster losers with personality problems are not solely the provence of Brooklyn, New York, and Hoxton, London, Oslo, August 31 is seemingly the story of one day in the life of a miserable Norwegian incapable of turning his life around. Only the constant punctuation by plaudits from critics raving about the film offer any recommendation to anyone unimpressed by the opportunity to stare at modernist Scandanavian architecture and glum faces for 90 minutes.



OC87 is a film about real mental illness and, uniquely, is made by someone who has both OCD and Asberger's. You're immediately thrown into what it is like to see the world through Bud Clayman's eyes, as shots of him on the bus or shaving in front of the mirror are accompanied by a voiceover expressing his paranoid thoughts. A compelling if not entirely attractive fellow, Clayman is at the very least a sharp manufacturer of trailers, since this brief catalog of craziness certainly leaves you wanting to know more.



France has this dreadful reputation as far as multiculturalism goes, so it is encouraging that according to the film's publicity, the entire population has seen The Intouchables five times and it is their favorite film ever. The story of a multimillionaire paraplegic and the Senegalese immigrant who cares for him in his own rough-and-ready way, this could have been mawkish drivel, but there are more laughs in this trailer than in all of the comedies made by Adam Sandler in the last decade. In addition, there's a role for Audrey Fleurot, an essential component of the superb ensemble cast of Engrenages, a super-sharp Parisian cop show that, sadly, will never find an American broadcaster. Too bad, but Well Done the French, at least according to this trailer.

Sun Life Financial has briefed the finalists for its creative and media business, with final presentations slated for next month.

Sources identified the contenders as Doremus, Connelly Partners and Allen & Gerritsen. Doremus, a unit of Omnicom Group, is pursuing the account out of its New York office. Connelly and Allen & Gerritsen are independent shops based in Boston and Watertown, Mass., respectively.

Final pitches will take place in mid-June with a selection expected a few weeks later. Ark Advisors in New York is managing the search.

Ark referred calls to Sun Life, which declined to comment.

The winner will succeed The Martin Agency, Sun Life's lead agency since 2009. The incumbent is not defending.

Sun Life's media spending totaled nearly $10 million last year, down from about $14 million in 2010, according to Nielsen. Those figures don't include online spending.

Leading the review for Sun Life is Priscilla Sims Brown, an svp and head of marketing and strategy.

Seventeen years after his untimely death from cancer at age 52, it's nice to see TV painter Bob Ross back on television, if briefly, in this amusing new ESPN commercial from Wieden + Kennedy in New York.

Not that Ross's teachings have exactly turned the woman in the spot into Picasso. As evidenced by her creations, which litter the wood-paneled walls, she is very much a work in progress-but she's determined, if nothing else, and thus is hogging the TV with her painting shows. This is where ESPN comes in. Her long-suffering husband, unable to watch his cherished SportsCenter, has discovered, from the comfort of his brown suede recliner, a wondrous invention called WatchESPN-a website that lets him watch ESPN live from his laptop. So, he doesn't need the TV after all.

Wife: "ESPN. Isn't that on TV?" Husband: "Uh, yeah, but you're always taking the TV to watch your painting shows." Wife: "Well, would you rather have all of this amazing art, or be able to watch TV?" Husband (long pause): "The art."

Ross, speaking pleasantly from the TV during the pause, takes the optimistic view. "Maybe there's a happy little cloud floating around," he says. The spot is its own happy little cloud-hilariously envisioned and nicely executed (what's the dog doing at the window?). In lesser hands, it would have had the woman watching a soap opera, or reality TV. It also manages to seem sweet despite being mildly insulting to the woman-a balance W+K strikes quite often in male-targeted ESPN work where it could easily get meatheady. Likewise the use of Ross, which could have seemed mean-spirited but instead feels almost affectionate.

With just a few brushstrokes on the canvas, W+K, like Ross, makes it look easy.



CREDITS
Client: ESPN

AGENCY
Wieden + Kennedy, New York
Creative Directors: Stuart Jennings, Brandon Henderson
Copywriter: Charles Hodges
Art Director: Gary Van Dzura
Producer: Alison Hill
Account Team: Brandon Pracht, Matthew Mauriello, Katie Jensen
Executive Creative Directors: Scott Vitrone, Ian Reichenthal
Agency Executive Producer: Temma Shoaf
Agency Head of Production: Lora Schulson
Agency Strategic Planner: Jason Gingold

PRODUCTION
Production Company: @Radical Media
Director: Steve Miller
Executive Producers: Maya Brewster, Gregg Carlesimo
Line Producer: Barbara Benson
Director of Photography: Eric Schmidt
Production Designer: Brock Houghton

EDITORIAL
Editorial Company: Mackenzie Cutler
Editor: Gavin Cutler
Post Producer: Sasha Hirschfeld
Assistant Editor: Ryan Steele

Telecine/Color Correction
Colorist: Tom Poole
Company: CO3

Post/Visual Effects (VFX)
VFX Company: Jimmy Hayhow
VFX Artist: Schmigital

Online/Conform
Artist: Jimmy Hayhow
Company: Schmigital

MUSIC
Song (if applicable): Ole! (APM Music)

MIX
Mix Company: Heard City
Mixer: Philip Loeb
Producer: Gloria Pitagorsky

Here's your daily dose of horrible violence against women in advertising-a Portuguese commercial for a social-events website in which a husband gives his wife a nasty headbutt. Lovely. Adweek's resident Portuguese expert, Nick Mrozowski, who sent us this link about the spot, tells us the attack is supposed to be a play on the site's name: "Vai Bater can translate literally to 'go hit,' but the name of the site is more likely a reference to a heartbeat, as in 'a sua coração vai bater,' or 'your heart will beat,' as in, these events are exciting … and maybe you'll find a better girlfriend there. So, the ad is a play on the double meaning." Needless to say, bashing a woman in the head in service to a pun is a questionable tactic. The tagline is: "Vai Bater! Events close to you. Choose the event. Live the moment!" The woman in the ad is Monica Sofia, a singer and Playboy model. The man is apparently her real-life husband.

This pro-condom ad that art and production studio Kollektivet Livet made for Swedish sex advocacy group RFSU was never used, which is a shame because it was a neat idea. The music is arranged in an interesting way, and the tone is more playful than in most condom ads. I mean, condoms are supposed to be fun. And even if you're one of those sad-sack Forever Alone dudes on Reddit, this ad proves there's still room for condoms in your life, if not necessarily in your pants. Via Laughing Squid.

To promote Volkswagen's original auto parts, Brazilian ad agency AlmapBBDO slapped banners on popular homemade YouTube clips-mostly spoofs, parodies and wacky foreign interpretations of songs-directing viewers to the original songs by the original artists. "Don't accept imitations. Prefer original parts," the banners read. The effort apparently generated 125,000 views and 500 clicks for every $100 spent. Surely 99 percent of those clicks were intended to make the damn banners get off the screen and stop blocking the memes. They're way more entertaining and addictive than the originals. Sing it, He-Man: "Hey, yeah yeah yeah yeah!" I'm firing up Final Cut Pro to get the "Indian Thriller" cast dancing to that one. Via Adverblog.

Six Questions: Russell Wallach

It's the season for reviving defunct brands. Health and fitness publisher Rodale is bringing back Best Life, the high-end men's lifestyle magazine that it folded in 2009, Adweek has learned.

With well-rounded editorial and big-name contributors like David Mamet and Jay McInerney, Best Life was popular with readers and advertisers, carrying brands like brands like Lexus, Charles Schwab and Yves Saint Laurent. However, it became a victim of its newness (it had only launched five years before) and the luxury ad market, which took a dive in the recession.

Rodale kept the name alive in the form of a front-of-book section in Men's Health called The Best Life, though, and people who were key to the original magazine are still around, including the editor, Stephen Perrine; and David Zinczenko, gm for Rodale's Healthy Living Group evp and book division. Zinczenko will oversee the revival as editorial director. Perrine will resume his role as editor (while keeping his role as publisher of Rodale Books), and John Mather will be creative director.

Rodale is the latest in a string of publishers taking advantage of the resurgence in luxury advertising by launching new or bringing back defunct brands that folded due to a lack of ad support but which had a strong reader following. In the latter category, Condé Nast revived Domino as a newsstand publication and Gourmet as an app and special-edition magazines. They join a rash of new titles aimed at the high end, including Bloomberg's Pursuits, Fairchild Fashion Media's menswear quarterly M and Jason Binn's Du Jour.

"We're excited to be back in the rapidly expanding luxury market with a magazine that men really care about," Zinczenko said.

Rodale is being cautious this time around; Best Life will come out as a 300,000-circulation SIP (special-interest publication) priced at $5.99 for three months starting Oct. 23. There will be a companion iPad app and potential e-commerce component attached to it. Like the original, it will cover a range of topics like style, wealth, travel and fatherhood.

What do you get when you combine a controversial director, a pair of iconic British actors, and a famous Italian fashion house? That question was answered this week at the Cannes Film Festival, where Prada debuted a short film from Roman Polanski starring Ben Kingsley and Helena Bonham Carter. The result of their collaboration, titled "A Therapy," turns out to be a delightful (and impeccably stylish) little gem of a story.

Kingsley stars as a quiet psychiatrist, while Bonham Carter, refreshingly free of her usual Burton-esque attire, plays his haute-bourgeois patient. Bonham Carter, wearing a splendid violet Prada fur coat (all the clothes were created exclusively for the film), enters the doctor's beautifully decorated office to take her dose of the talking cure. After removing her coat and kicking off her (Prada-labled) shoes, she begins to prattle on about her various problems-the loneliness, the daddy issues, the curse of wealth-as the doctor attempts to listen. But he's more absorbed with his patient's luxurious fur coat hanging on a rack across the room, which he sneaks away to fondle and try on while preening in front of a mirror. The woman, oblivious to what's occurring behind her chaise longue, asks, "Oh doctor, what does it mean? What does it all mean?" Rather than attempting to answer, the doctor ecstatically sweeps the fur collar across his face, as the words "Prada Suits Everyone" appear over the frozen shot.

It's a well-known fact that fashion films, with their grim-faced writhing models and absurd voiceovers, are a generally absurd art form. But lucky for Polanski, Prada happens to be a high fashion house with an actual sense of humor. As a result, "A Therapy" manages to captivate its viewer with an unexpected wink while still exhibiting the Prada aesthetic. Luxury brands, take note: You could learn a thing or two from this three-minute session.



CREDITS
Client: Prada
Director: Roman Polanski

Miller Lite's revolutionary Punch Top can, which may completely reinvent the way high schoolers shotgun beers, frankly deserved better than the few desultory Draftfcb ads it got at last month's launch. Here, thankfully, are some new product-demo ads (from Digitas in Chicago, produced by Gifted Youth, Funny or Die's new commercials division) that have a little more fun with the Punch Top concept-in particular, the plethora of household items with which you could spear the can's top. (The faster the beer goes down, the better, perhaps.) On a related note, I received Miller Lite and Miller Genuine Draft Punch Top cans in the mail from a PR agency, and after trying in vain to give them away, I sampled them-and can confirm: The experience is gloriously glugless. Two more spots after the jump.