Best brush up on your Texan before seeing David Gordon Green's movie. With much of the cast sporting accents that sound as if they're chewing corn when talking, the temptation to ask "wat dat boy sayin?" is constant and more than a little annoying.
Movies with the word "mensch" (let alone "supermensch") the title don't come around very often, so I leapt on this one, even though I'd never heard of Shep Gordon and thus had to be convinced of his status as a "legend".
When an actor has been around as long as Sir Michael Caine, it is easy to forget how good he can be in the right role. His prolific career is peppered with parts that he obviously did just for the cash and then there are the priceless gems - Milo Trindle in Sleuth, love-struck Elliott in Hannah and Her Sisters and soulful Frank in Educating Rita - which are beyond brilliant.
The kitchen is an unlikely setting for a musical, but for a lot of women it's the only place they ever get to sing. I for one regularly perform showstoppers at the stove while making chicken soup and my kneidels have never suffered - even when I throw in a few jazzy dance moves.
Walking on Sunshine opens today and I was seriously tempted to review it. A rom-com set in Puglia with a medley of 1980s hits as the soundtrack is just perfect for summer. But I couldn't see it without my seven-year-old, so I saw Arthur and Mike instead.
One of the great advantages of being a film critic is that you get to see movies before they have been discussed, analysed, mauled and often buried by the experts (aka the other critics). The joy of having first dibs means few preconceived ideas and, on rare occasions, one might even be clueless about the content. That was the case when I settled down to watch E L Katz's movie.
I like to think it's important to see things from both sides of the fence - or in the case of Hany Abu-Assad's Omar, the wall, as it is the towering rampart surrounding the occupied West Bank that dominates this tale about love and loyalty.
Having auditioned many unsuitable actresses for his play Venus in Fur - an adaptation of the Leopold von Sacher-Masoch erotic classic - director Tom (Polanski-lookalike Mathieu Amalric) is on his way home when the brash and vulgar Vanda (Polanski's gorgeous wife Emmanuelle Seigner) arrives late.
In my favourite recurring dream, I get a call from casting director Juliet Taylor asking me to be in Woody Allen’s next untitled feature. Naturally, I accept without even bothering to inquire about the role as I would happily play “woman at bus stop” if it meant spending time with my hero.