I imagine everyone has their own opinion on Arthur: it's nice to see that Helen Mirren has it in her for a new type of typecasting. Also I'd never really drawn the line between Russell Brand and Ricky Gervais before.
I would like to think that at some point in the making of every terrible film, shortly before everything catches fire for the last time and sinks into the swamp, someone looks up and says "Roberto Rodriguez could save this". I'm damn sure it happened during making The Bleeding, though I suspect that nothing could prevail against this level of stunt casting.
Heartbeats: note to makers of trailers: While is is generally possible to disguise that a film is French by producing a trailers without any words, this does not work if the film is Very French Indeed, where every frame calls out "Bonjour! Je suis Francais!"
Dumbstruck: A documentary about a convention of ventriloquists. See if you can spot where my eyes popped out of my head (NB not in a good way).
I like to think I have a good sense of humour (but then so does everyone). I also like to think I have an expansive sense of senses of humour, that even where I don't agree that something is funny, I can see how it works, what tone it's trying to hit. And then something like The Last Godfather comes along, and I realise I don't really know anything.
Potiche, which is now showing, looks like a well-measured movie of feminism and the work force, scuppered in England by the fact that there was a local version not that long ago. The filmmakers have probably not even heard of Dagenham!
Pretty much the only interesting thing about Something Borrowed is that it's one of the films featuring what appears to be a hollywooded version of one of my friends (in the same way that Rachel Getting Married starred Hollywood jinxremoving).
I have a confession: I watched and enjoyed Hoodwinked, and there's a decent chance that I'll watch Hoodwinked Too too. As well. I am comfortable blaming Patrick Warburton's entirely dim wolf for that. I'm not sure it'll be necessarily any better - there's probably some calculus for what happens when you drop James Belushi, Anthony Anderson, Chazz Palminteri, and XZibit, and replace them with Cheech and Chong, Joan Cusack, Amy Poehler, Martin Short and Wayne Newton, but who can say what has been gained or lost? Apart possibly for an hour and half of my life?
Between Notes provides a tricky conundrum: which comes first, the terrible indie movie, or the terrible indie music?
The interesting thing about The Big Bang is that there are generally a few film every year that start out as straight genre and then go looping wildly into the aether - but they don't usually have a casting or effects budget this big.