Armani Beauty unveiled its first dedicated pop-up in West Hollywood earlier this month, celebrating its unveiling with a roster of celebrities, including Dakota Fanning and Katherine Schwarzenegger, and a handful of product exclusives. The all-red 2,000-square-foot Armani Box is so far the only place in the U.S. to have the brand's new Power Fabric High Coverage Stretchable Concealer and the Foundation Balm, which will roll out nationally in March. Also, there's a vending machine on hand that delivers take-home samples as well as other technology such as mirrors that show the shopper what a particular lip color will look like on the person. Tim Quinn, Giorgio Armani Beauty celebrity makeup artist, said the Melrose Place location was "an iconic spot for someone to discover" and that although the offering was "soup to nuts, skin care through fragrance," the pop-up has a focused and curated feel. "The brand is known for foundation," said Quinn, adding that he often recommends his clients have three different foundations -- one each for weekends, evenings and workdays.

Sonic the Hedgehog - the spiky blue hero who has spent his life fighting Doctor Robotnik - is making his way to the big screen. The computer game character will move from SEGA consoles to film with a mix of CGI and live action techniques, according to the Hollywood Reporter. But will the move from the gamer's chair to the cinema seat pay off for Sonic and friends? We take a look at some of the other gaming giants that have become blockbusters - and whether they have been a success. The famous fighting game made its way out of the arcades and into live action when one of the action genre's biggest stars took on the role.

For more than 40 years, no single director has more defined what we think of when we think of the movies than Steven Spielberg. To date, his feature films have grossed 4.3 billion in North America and 9.2 billion worldwide, more than any other filmmaker in history by a comfortable margin. His movies have been nominated for 128 Academy Awards and won 32, and Spielberg personally has been nominated for 16 Oscars, winning three (Best Director for Saving Private Ryan, and Best Director and Best Picture for Schindler's List). And if that's not enough, Spielberg has also presided over at least two of the most transformative changes of the last 50 years in the movie industry: the creation of the summer blockbuster (with Jaws) and the proliferation of computer-generated imagery in visual effects (with Jurassic Park). To be sure, Spielberg has not done any of this alone. With George Lucas and Harrison Ford, he helped create Indiana Jones. With Tom Hanks, he established an ongoing creative partnership (and lifelong friendship). His longtime producer Kathleen Kennedy -- the woman currently shepherding the revival of Star Wars -- got her start as Spielberg's secretary. Just about every one of his films have been tightly edited by Michael Kahn and majestically scored by John Williams. And he's collaborated with a small stable of top-flight screenwriters, including David Koepp, Richard Curtis, Eric Roth, Lawrence Kasdan, Steven Zaillian, Tom Stoppard, Tony Kushner, Joel and Ethan Coen, and, on his newest film The BFG, Melissa Mathison. When we go to a Spielberg movie, we know we will see a film made with consummate craft and exhilarating visual style -- few directors know better how to harness the tools of pure cinema. But I would argue the artistic constant that has informed Spielberg's career and success more than any other has been his seemingly limitless capacity for empathy. "Movies are like a machine that generates empathy," the late Roger Ebert once said. "It lets you understand a bit more about different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us." Ebert might as well have been describing Spielberg's entire career, and I know that because, like a crazy person, I screened all 29 of Spielberg's theatrical feature films in chronological order, and then ranked them from worst to best. I also skipped 1983's Twilight Zone: The Movie, since Spielberg directed just one of five segments in the film.) By my count, only three of Spielberg's movies are irredeemably bad.