Eddie Cibrian is being linked with LeAnn Rhimes while going through a break up with his wife.

"From the outset I have made a conscious decision to try and keep this matter private and not discuss it in the press. While my wife and I are dissolving our marriage, we will work together to parent our two children," he said of sons Mason, 6, and Jake, 2.

"I love my boys very much. I want only the best for them and am committed to being a devoted father," Cibrian said.

The "CSI: Miami" actor's statement, issued Thursday, comes after

Rimes

and Cibrian

went public

with recent dates, including a game of golf and a Kings of Leon concert.

Earlier this week Cibrian filed for divorce from former model Brandi Glanville, citing irreconcilable differences.

Don't Miss

But

Cibrian

insisted: "I will continue to be respectful and sensitive to this issue by not doing interviews about this ongoing private matter. I wish everyone would do the same."

For more on Rimes and

Cibrian

's recent dates — and how their exes are reacting — pick up the current issue of PEOPLE, on newsstands now

Musician Jesse Dayton has branched out to a new fanbase by collaborating with Rob Zombie.

He wears the name Beaumont, his birthplace, like a badge of honor and he rolls through a set list of stories about his musical collaborations in the Lone Star state with humble pride.

Dayton has earned a hard core following in Texas. But his recent collaborations with rocker-turned-director Rob Zombie have earned him an unexpected fan base — among horror movie fans.

Most recently, Dayton joined

Zombie

to record a soundtrack for the movie "Halloween II" as Captain Clegg and the Night Creatures — a gig that also earned him some time on screen.

Watch Dayton discuss his new project »

Dayton spoke to CNN recently about his career and newfound fan base.

The following is a portion of that interview:

CNN:

You have a lot of appreciation for Waylon Jennings.

Dayton:

I was actually on a talk show in Nashville [Tennessee] and Waylon was cooking with his wife, Jessi Colter.

They were watching the show I was on because Kris Kristofferson was on. They saw me and called me the next morning and said, "Waylon cut his finger. He wants you to come down here."

So it was a total fluke. Waylon was like my Elvis, especially growing up. My earliest memories were my mom's 8-track in the parlor listening to Willie [Nelson] and Waylon.

CNN:

You are not really part of the Nashville music scene. Why?

Dayton:

I'm not intentionally staying away from what's going on in Nashville. I'm just being myself.

Texas is like a whole other planet. Bob Wills got kicked off the Grand Ole Opry. Willie Nelson didn't get on the radio until he left Nashville. There's a long history of that.

I don't put down Nashville. They're just doing what they're supposed to do, which is sell as many records as they can. But we've just learned that there's a whole crowd of people out there that love Johnny Cash but aren't into what they're playing on country radio. That's been the crowd we're attracting.

The cool thing we love about having a cult following is that radio and record companies can never take that away from us. It's something we went out and earned one fan at a time.

I love looking out in the crowd and seeing one guy with a cowboy hat on, one guy with long hair from the Rob Zombie camp and maybe some rockabilly kids.

CNN:

What is the story behind your collaboration with Rob Zombie in 2005?

Dayton:

He said, "Hey man, we're making the ultimate white trash horror movie called 'The Devil's Rejects.' We think your music would be perfect for it" which is kind of a left-handed compliment, I guess.

CNN:

Now you're appearing in "Halloween II" and recorded a soundtrack for the movie?

Dayton:

It's really fun for me.

We're taking on this whole identity of this band. The record's going to be called "Captain Clegg and the Night Creatures." [Zombie] would call me and say, "Hey, I got this idea for this song called 'Doctor Demon and the Robot Girl' " or [he would ask me to write] a sort of '60s country thing-meets Tom Jones.

CNN:

Are you a good actor?

Dayton:

Elvis said, "The only thing worse than seeing a bad movie is being in one."

I think the only thing worse than watching a bad actor is being one. I don't take it seriously at all. I'm just a musician who's there for color. If I can show up and be myself and not have to act? Perfect.

Morris Chestnut stars as Benjamin Armstrong, a struggling song writer working as Santa Claus at a mall along with his best friend Jamal (Faizon Love). Gabrielle Union co-stars as Nancy, a mother of three that is divorced from her hip-hop superstar husband J-Jizzy (Charlie Murphy), who cares more about his career than his own children. When Nancy tells her friends that all she wants is a man to pay her a compliment, he young daughter (Khail Bryant) turns around and asks Santa to send mommy a man who will pay her a compliment. Of course, when Benjamin catches a glimpse of Nancy the next day, he makes a move, leading to a series of contrivances that grow stupider by the minute. For starters, Benjamin is ashamed of the fact that he’s a mall Santa, so he lies to Nancy about his job, as does Jamal, who falls in love with Nancy’s best friend (Rachel True). If that’s not complicated enough, one of Nancy’s kids hates Benjamin, because he wants his mommy and daddy to get back together. Then there is the self centered J-Jizzy, who is desperate to find a hit single for his upcoming Christmas album (it will come as no surprise that the song he picks is written by Benjamin). And finally there is Queen Latifah who has a supporting role as a Christmas angel who manipulates things when the logic-defying script can’t think of another way to move the braindead story forward. Latifah is cast opposite Terrence Howard, who is some sort of Christmas-hating spirit (technically that would make him a demon).

If any or all of this sounds like a movie that might be remotely entertaining, rest assured that The Perfect Holiday is infinitely entertaining. Of course, the entertainment value is derived from unintentional laughs from a script so devoid of intelligence you have to wonder if it was written by a lobotomized half-wit. I mean we’re talking about something so stupid it should be on the Hallmark Channel, which means it is too dumb for Lifetime. And that’s saying something.

There are people who will be entertained by The Perfect Holiday. Some of them might even think it’s good. But if you are reading this review, then chances are you are someone who cares enough about movies to at least do some sort of critical research about what you may or may not watch; and that puts you well outside the demographic of people who would watch this shit and say with any degree of honesty that they thought it was good. The fact of the matter is that this movie is not good, and that it is only entertaining in the same way that watching one dog sniff another dog’s ass is entertaining.

Despite all of the negative things to be said about The Perfect Holiday–and believe me, I could say more–there is a way this pandering trash could be worse. Instead of Morris Chestnut and Gabrielle Union, two likeable stars in their own right, it could star Cuba Gooding, R. and Vivica A. Fox. Fortunately, Charlie Murphy is on hand to add just the right amount of minstrel hijinks films like this need. This could also be a worse movie if it had been made by Tyler Perry, who would have wrapped the never-ending barrage of stupidity and predictable plot machinations in a package of religious preaching. But instead of being clobbered over the head by a bunch of dumb jokes and predictably cliché plot twists wrapped in a Jesus-friendly message, we just get the dumb shit–which in a weird way is a very good thing.

Jon and Kate Gosselin attend the Discovery Upfront Presentation in New York City in happier times.

Reports of his saying he's ready to withdraw from TLC's "Jon & Kate Plus 8" are not only premature — they just aren't true.

"I never said that," Jon told PEOPLE while speaking outside his house on Wednesday.

As for his literal fashion statement — being photographed in a T-shirt bearing the message, "Lies, Lies" –

Gosselin

said: "I just thought it was funny, because people can write anything about me … How can you write something about me or say something about me without actually asking me?" (Read what Jon's fashion friend Christian Audigier

has to say about him today

.)

Billy Ray Cyrus has a full plate with acting, touring, composing and being a dad.

When others wrote him off as a novelty act after the 1992 hit "Achy Breaky Heart," Cyrus kept making music and eventually turned to acting.

It was a decision he said came after some well-timed fatherly advice.

"In the mid-'90s, my dad said to me 'Son, you've got all of your eggs in one basket and you are living and dying by music,' " Cyrus recalled. "He said 'I want you to have a career like Kenny Rogers.' "

Cyrus said his dad suggested he branch out into acting. Cyrus eventually auditioned for and won a role in what appeared to be an unlikely vehicle — David Lynch's 2001 film "Mulholland Drive."

After Lynch, known for such works as "Blue Velvet" and "Twin Peaks," suggested that Cyrus should continue to pursue the craft, he went on to star in the television drama "Doc," which also helped spur the career of Cyrus' greatest production — "Hannah Montana" star, and Cyrus' daughter,

Miley Cyrus

.

Now, with the release of "Hannah Montana: The Movie" on Blu-ray and DVD, a music tour and an upcoming role in a film featuring comedian George Lopez and martial arts expert Jackie Chan, Cyrus is staying busy.

He recently took some time out of his hectic schedule to talk to CNN about how he keeps it all together, how he manages raising a family full of performers (son Trace is a member of the band Metro Station, daughter Brandi performs with the band Frank and Derol and also acts, as do younger children Braison and Noah) and what makes him a good fit for Hollywood.

CNN:

What do you like about "

Hannah Montana

: The Movie?"

Billy Ray Cyrus:

I think it's got a certain amount of realism to it with art imitating life imitating art. It certainly parallels a lot of things in mine and Miley's real world and real lives.

I wrote the song "Back to Tennessee" and as I read the script for the movie, "Back to Tennessee" became a cornerstone of the film and the title track off the album. The realism of the film translates into the music, and I think vice versa.

CNN:

The film speaks to never losing touch with your roots. How important is that to you?

Cyrus:

Extremely. My dad told me as a kid to always be aware of where you are, always have a vision for your future, but never forget where you came from.

CNN:

You've had careers in both music and acting. Do you still feel a bit like a fish out of water dealing with Hollywood?

Cyrus:

I love Hollywood as far as being an actor. Getting to work with Jackie Chan and George Lopez in this new film we have coming out in January ["The Spy Next Door"], working with Heather Locklear and Patricia Neal in the Lifetime movie "Flying By" and Brooke Shields, who has appeared as my deceased wife on "Hannah Montana."

I look back at it now and think that I may fit in more to the film community than I do Nashville, to tell you the truth. I love what I do.

CNN:

Do you have a preference, then, for acting over music?

Cyrus:

My preference is to find projects that can combine the two. I also love to write scores. I wrote a lot of the scores for "Doc" and I love to write scores for other projects.

CNN:

How do you balance being a star with being a dad?

Cyrus:

The very best I can. I just take it one step at a time and do the best I can.

My dad was to me what I try to be to Miley, which is somewhat of a best friend. I try my best to be a good daddy and if she wants to talk about business or music I try my best to be a good manager. I try to be all of those things because that's what my dad was to me.

Unfortunately, my dad passed away four years ago from mesothelioma, but I feel like in some ways my dad is looking down on me and smiling.

His name was Ronald Ray Cyrus and a lot of people say Miley changed her name to Miley Ray because of Billy Ray, but that's not true. She did that in honor of my dad, because the two of them just loved each other to pieces.

CNN:

So will Miley ever remake "Achy Breaky Heart"?

Cyrus:

I doubt it, but anything is a possibility. In 1991 I recorded "Achy Breaky Heart" and we are not too terribly far away from the 20-year anniversary, and there are some major stars who want to re-do that song.

I'm flirting with the idea. There's one cat in particular that if I told you who it was, it would blow your mind. But I've got to keep it under my hat right now.

Yes, “Rocky” — read my Roman numerals — “V” is here and, it turns out, all that head-buffeting the Italian Stallion received at the hands of Soviet machine Dolph, Mr. T. and all those other opponents has further pureed his gray matter into cranial polenta. Brain damage, say the requisite two doctors. Irreversible. But not irreversible enough. Apparently there was still enough active brain mush to script this ridiculous sequel about fathers and sons, mentors and palookas.

Not only has Rocky retired, not only is he addleheaded, but he’s penniless because brother-in-law Burt Young unwittingly gave all the Balboa earnings to an unscrupulous accountant. So Stallone, wife Talia Shire and (real-life) son Sage Stallone must return to hard-times Philadelphia. Shire goes back to work in the pet store, the kid gets beaten up in the tough local school and Stallone is plain adrift.

When burning-to-make-it Okie contender Tommy Morrison begs Stallone to train him, our Philly pughead initially resists but then changes his mind. The kid (name of Tommy “Machine” Gunn) learns fast and punches hard. Suddenly he’s 22 and 0, Rocky’s a big-name coach with his own protege and sleazy promoter Richard Gant (an unimaginative spin on Don King) wants a piece of the action. Money talks, the kid goes over to the other side and Rocky’s suddenly being challenged by his own disciple.

Director John G. Avildsen, who did the first “Rocky” and all three “Karate Kid” movies, goes from slow-moving Balboa family scenes to scrapping episodes in Sage Stallone’s school of hard knocks, to Avildsen’s trademark, music-driven sequences, as the “Machine” Gunn trains for the big fight.

Despite Stallone’s bantamweight attempts to insert, like, character into the fifth “Rocky,” it’s the same old fight with the same old round of regulars. It seems silly wasting money on actors when the same could be achieved with Muppets. Rocky has little to do except shuffle around and mutter “cute” Rocky t’ings:

“Da guy dat ran dis gym,” he tells the aspiring Tommy Gunn, “dat was a manager. I was just da {pause} managed guy.”

Burt Young, who is three knucklehairs short of being completely Cro-Magnon, merely has to mumble, threaten people with baseball bats and stumble around in search of alcohol. A Talia Shire Muppet would be pretty basic too. She merely has to look sad when Rocky’s taking punches, perk up when he’s giving them, cheer when he wins, then drape herself around his bloody, triumphant body at the end.

Well, what does it matter anyway? There won’t be a “Rocky VI.” Will there?

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The word "Lost" has plagued Kathryn Bigelow´s genre-busting Vampire film "Near Dark" since its theatrical release. First and foremost, "Near Dark" found itself going head-to-head with the higher budgeted and marketed "The Lost Boys." "The Lost Boys" was released on July 31st of 1987 and "Near Dark" bowed almost exactly two months later on October 2nd. "The Lost Boys" turned out to be a tremendous success and filled the moviegoers appetite for blood. When the all-around superior "Near Dark" had its time in the limelight, the audience practically ignored the film and "Near Darks" eventual box office take of $3.4 million was slightly more than half of "The Lost Boys" $5.2 million opening weekend.

The next encounter that Bigelow´s "Near Dark" had with the word was when reports circulated around the Internet that the film had been declared "lost." It was rumored that no salvageable print was in existence and the film had been out of video circulation for over half a decade. This was a great disappointment for the fortunate few who had embraced the film. "The Lost Boys" has seen a few video releases over the years and whereas the two Corey´s careers have become officially lost, it would live forever on video. Sadly, if what was being reported was true, "Near Dark" was gone and never to be properly appreciated again.

Fortunately, the demise of "Near Dark" was incorrect. Somewhere, somehow, Anchor Bay managed to find a quality print of the film and deliver it to the digital realm of DVD. If the film was "lost," it now has been found and perhaps can be found by legions of potential fans. It is truly sad that films are becoming "lost" because of poor preservation or lack of attention to source prints´ whereabouts. Being a fan of Bill Paxton, "Near Dark" was a film that I never had the opportunity to watch on LaserDisc or see theatrically. When I had originally heard it was lost, I was greatly disappointed. Imagine my satisfaction when the film finally arrived on my doorstep!

"Near Dark" is a vampire film. However, it is far from typical. Much has been said regarding the fact that the word ´vampire´ is never muttered in the film. Gone are many other staples of vampire films. Holy water, crucifixes, wooden stakes and winged rodents are not part of Bigelow´s picture. In fact, there aren´t even sharp pointy fangs as part of the bloodsucker´s dental structure. Aside from drinking blood and an extremely fatal physiological reaction with sunlight, the only carryovers to "Near Dark" from other vampire pictures are the concepts of greater physical strength and eternal life. The vampires of "Near Dark" are a roving band of outlaws who are more likened to gunslingers than they are to the romanticized depiction of Count Dracula.

In "Near Dark," Caleb Colton (Adrian Pasdar) is a young man trying to become physically acquainted with the attractive Mae (Jenny Wright). After placing Mae into a position where she must kiss him, Caleb is bitten in the neck and blood is drawn. Mae takes off and Caleb is left in his broken down pickup truck, which decides it doesn´t want to start. Caleb is left walking home and starts to feel the effects of sunlight on his transformed vampiric self. Within the view of his father (Tim Thomerson) and sister Sarah (Marcie Leeds), Mae´s family of vampires abducts Caleb. Led by Jesse (Lance Henriksen) and Diamondback (Jenette Goldstein), and including Homer (Joshua John Miller) and Severn (Bill Paxton), Caleb is given a week to become part of the group or to be destroyed.

Caleb is strongly attracted to Mae and it is with her help that he is given more than once chance to fulfill his needs and duties as a vampire. He is not a person that wants to kill and he quickly finds himself at odds with Severn. After an exciting massacre at a roadhouse, Caleb makes the mistake of letting a victim go and the group finds themselves under the attack of the local law authorities. Caleb places himself in great jeopardy to save the group, but his heroics prove successful and he finally finds himself befriended by the group. Still, Caleb is not a vampire at heart and his pursuing family places him in a situation where he must choose his destiny.

As far as vampire films go, "Near Dark" is one of the best. Bigelow is given a writing credit for the film and her story´s decision to make this film atypical works very well. This band of outlaws makes for a dynamic group that would be just as entertaining if they did not live on human blood. The roadhouse massacre scene is simply brilliance. The chemistry of the group and their views on what it is like to have the ´gifts´ they possess are quite different than anything I´ve seen in this subgenre of horror film. This film simply would not have worked if holy water was being spritzed. A band of complete badasses who happen to be vampires is unique and by removing most aspects of a vampire film, they are all the more unique.

I highly enjoy Bigelow´s "Strange Days," and "K-19: Widowmaker" was good, but underperformed in my opinion. "Near Dark" is far from perfect, and may not be her best technical effort, but this is her best film. The film starts slow and the introduction of Caleb into the band of bloodsuckers takes longer than necessary. The middle act that finds Caleb being forced to conform is where the film excels. The exploits of the group are pure entertainment and I cannot praise the roadhouse scene enough. The climax of the picture is more wishy-washy than it is action oriented and Bigelow strived harder to offer a wonderful new world for Caleb and Mae than she did in nailing the coffin shut on Jesse, Severn and the rest of the group. The strong cast helps bring a sense of reality to the tough composition of the vampires, but the story is strong enough it would have worked with a lesser group of actors. After watching the film, I don´t think I´d want to see it without Paxton and Henrikson.

At first, I was not blown away by "Near Dark." I enjoyed the film and liked it a great deal, but it did not seem like the ultimate vampire movie. After the second viewing, my appreciation for the picture only grew and I started to see what all of the fuss was about. While not a perfect movie, this is such a step away from everything that typically defines any movie of this genre. The opening and closing acts could have used some improvement and there could have been a slight rise in the level of carnage, as the bloodshed was remarkably low. Still, this is such an original story with great acting and a captivating storyline that it is hard to ignore. I´m overjoyed by the fact that "Near Dark" is not lost and though I have always liked "The Lost Boys," I now feel that this is the film that should have been the more memorable of the two. Bill Paxton and Lance Henrikson are still bankable faces. Where are the Corey´s today? Answer: Lost!

Video :
You are going to want to turn out the lights for this picture. Much of the film takes place slightly after or slightly before daytime. The imagery is dark and dreary. Cinematographer Adam Greenberg helped bring another vampire film, "Once Bitten" to life, but where that film was a jokey affair, he is also the man responsible for the look of "The Terminator" and its two sequels. His work on "Terminator" mirrors shows in "Near Dark." The films have a very similar style and look to them and Greenberg knows how to film scenes that take place when the sun is down. Part of the appeal of "Near Dark" is the grungy nighttime photography and this is a film that was designed to be watched in the dark and can only truly be experience by doing so.

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(

Entertainment Weekly

)

– Score a personal best at the box office for Quentin Tarantino this weekend. "Inglourious Basterds," his revisionist take on WWII starring Brad Pitt, grossed an estimated $37.6 million, besting the reigning box office champ "District 9," and giving beleaguered studio The Weinstein Co. a little financial relief.

"Inglourious Basterds," a revisionist take on WWII starring Brad Pitt, grossed an estimated $37.6 million.

"Basterds'" opening far surpasses Tarantino's previous best opener, "Kill Bill Vol. 2," which brought in $25 million in April 2004. The critical question now is how "

Basterds

" will hold up during the next few weeks. Since Weinstein only has domestic rights to the movie — Universal Pictures holds international — a large overall gross stateside is mandatory for the company.

Warner Bros. had a much harder time with its release "Shorts" from auteur Robert Rodriguez. Opening to only $6.6 million, the PG-rated kid flick landed in a weak 6th place finish for its opening frame.

The only other new release to reach the top ten was Fox Searchlight's post-college flick "Post Grad" starring Alexis Bledel. Despite opening in 1,959 locations, the film grossed only an estimated $2.8 million for the three days.

Among holdovers, "District 9" did incredibly well considering Basterds was angling directly for its male audience. The $30 million sci-fi movie from newcomer Neil Blomkamp dropped a scant 49% to $18.9 million putting its total ten day gross at an impressive $73 million.

"G.I. Joe" also hung in for its third week in theaters. The high-octane actioner fell only 44 percent to $12.5 million. It's three-week cume now stands at $120 million. Female moviegoers helped keep "The Time Traveler's Wife" and "Julie & Julia" in the top five.

"Time Traveler" dropped only 46 percent to $10 million its second week putting its ten-day gross at $37.4 million while "Julie & Julia" fell only 25 percent, which is remarkable considering the movie is in its third week of release. Grossing $9 million for the three days, the Meryl Streep, Amy Adams two-hander has now earned $59 million total.

Thanks to the strong opening of "Basterds" and the solid hold of the incumbent films, the box office was up 26 percent compared to the same time last year. It's the third week in a row the box office was up after four weekends of unimpressive results. Next weekend's horror mash-up of "Halloween II" and "The Final Destination 3-D" should yield some positive results too.

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