Abigail Breslin keeps it cool and casual as she arrives at the premiere of Scott Pilgrim vs. the World at Grauman’s Chinese Theatre in Hollywood on Tuesday night (July 27).

The 14-year-old actress will next be seen…or heard in Rango alongisde Johnny Depp and Isla Fisher.

Rango, out in theaters March 2011, is about a chameleon who aspires to be a swashbuckling hero and finds himself in a Western town plagued by bandits and is forced to literally play the role in order to protect it.

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Johnny Depp voices the role of the title character, described as a household chameleon with an identity crisis. Rango goes on an adventure to discover his true self. Along with Depp the voice cast includes Abigail Breslin, Isla Fisher, Ned Beatty, Harry Dean Stanton, Alfred Molina, Ray Winstone, Stephen Root, Bill Nighy and Timothy Olyphant as The Spirit of the West.

The film is set for a March 18, 2011 release. Take in the trailer directly below.

Project Sunshine empowers a dynamic and dedicated corps of over 10,000 volunteers to bring programming – recreational (arts), educational (tutoring and mentoring) and social service (HIV and nutritional counseling) – to over 60,000 children facing medical challenges and their families in 100 major cities across the United States and in five international satellite sites: Canada, China, Israel, Kenya and Puerto Rico.

Volunteers selflessly donate their time to create program materials and deliver programs. Working onsite, our volunteers relieve the anxiety of the young patients and in a context of fun and play, foster in them the courage and coping skills necessary to confront procedures that lie ahead.

Project Sunshine volunteers spread sunshine, restoring a crucial sense of normalcy to the pediatric healthcare environment.

Late night funny girl Chelsea Handler serves up some movie theater snacks to 13 year-old actress Abigail Breslin in a cheeky fashion photo spread for the April 2010 issue of Harper’s Bazaar (with Demi Moore on the cover).

Abigail poses as the “Hollywood brat,” while Chelsea stars as her overwhelmed “publicist.” Here’s what Chelsea shared:

On Hollywood publicists: “Sometimes the publicists are worse than the star. They really are delusional. That’s why when I hired a publicist, I was like, I never want the type who is going to be such a pain in the ass and treats people terribly.”

On her dad, who she exploits in her latest book “Chelsea Chelsea Bang Bang”: “[My father] likes to have any attention, whether it’s negative or positive. He is pretty much under the correct impression that he has no say in anything I do and that my childhood was humiliating enough. So it’s payback time. If he tried to sue me, he’d have to borrow money from me to sue me.”

On working out: “[Sometimes] I’m running and get passed by a 70-year-old woman with a better body. I can’t be skinny all the time. I like to drink and I like to eat. I like burgers and bagels.”

“With Broadway you rehearse for about two months and with film, you rehearse for about two seconds and then you’re on. You don’t get as much, you film such short amounts of footage at a time, that’s why films take so long to make. With this, I was so confused how you can do a two and a half hour show but not have to take three months to do it!”

It was an extraordinary achievement for the obdurate teacher, who had herself been temporarily blind and who got scant help from Helen’s overindulgent family. Administering tough love, she drilled letters and words into the girl’s palms.

Eventually Sullivan earned the support of Captain Keller, a Confederate Army veteran, and Kate, his Southern belle wife. Enduring the child’s tantrums, Sullivan got permission to move with Helen from the main house to a small garden studio, where the tutor had sole control of her student.

Uphill Struggle

It was an uphill struggle for Sullivan, who often wore dark glasses to protect her own light-discomfited eyes and who, not allowed sterner measures, nevertheless had to exercise remarkable strength, agility and creativity. The play ends with Helen’s first comprehension of and tentative display of words, but we know that Keller went on to become a world-famous writer, lecturer and enlightened feminist.

Regrettably, Circle in the Square Theatre, where the audience surrounds the sunken stage on all sides, proves an inhospitable venue. We never get a clear sense of simultaneous goings-on in two houses and the space between. Worse, the actors are either too far away or too close, sometimes even blocked from view by one another.

Yet in this play actions must generally speak louder than words. In addition to the stars, Matthew Modine and Tobias Segal convince as Captain Keller and his hapless grown son James. Jennifer Morrison is somewhat less interesting as Kate, while Elizabeth Franz and Daniel Oreskes satisfy in lesser roles.

Set designer Derek McLane tries valiantly to overcome the limitations of the space, but the result is furniture that must descend on visible cables and an all-important garden pump that keeps popping up and disappearing below stage. Paul Tazewell’s costumes and Kenneth Posner’s lighting are fine.

Director Kate Whoriskey was also unable to solve the theater’s problems. The final scene, which ought to move the very stones to tears, only barely reaches our hearts.

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