Having recently seen THE LEGEND OF LYLAH CLARE, I thought perhaps Robert Aldrich shaped Borgnine to play a roman a clef version of Columbia studio head Harry Cohn, who fired Aldrich from the 1957 film THE GARMENT JUNGLE.

Thinking that Adam Sandler is overdue for the kind of film academia treatment given to Jerry Lewis.

Certainly, some of the early business re Chris Hemsworth's Huntsman seemed to be mooched from Kurosawa's direction of Toshiro Mifune.

If I recall correctly, Rex didn't enjoy THE WILD BUNCH either.

Imagining the review Lester could have written of the upcoming Lou-and-Metallica collaboration.

Hi Glenn, Know this is off-topic, but I'm curious if you have anything to say regarding Jim Sheridan's DREAM HOUSE. My wife and I are going to see it tomorrow in spite of the it's-bad-bad-bad advance word. Just curious if there's any rumblings on whether or not the film in its current form reflects James Robinson and Morgan Creek more than whatever Sheridan might have had in mind.

Don't know if she's a stupider version of Renata Adler or a smarter variant on Ben Lyons.

Re "the dopey final fifth of Redbelt"--I believe the climax was Mamet's homage to Buster Keaton's outside-the-ring capper to BATTLING BUTLER.

I can't wait for the David Mamet/Dennis Miller conversation about how they saw the Light of the Right.

Here's a passage from an article in NEW YORK about Mitchell's leaving THE NEW YORK TIMES: “Elvis has this sort of Candide-like air about him,” says Outside executive editor Jay Stowe, who edited Mitchell at Spin (yes, he worked there, too). It’s not naïveté, exactly, but an aura of doing what he wants and seeming surprised, in all innocence, when people take offense. A good example was in 1992, when Mitchell was recruited to a development job at Paramount Pictures by his friend Brandon Tartikoff. He was fired six months later after Paramount decided that the job conflicted with his reviewing duties on NPR’s “Weekend Edition.” (Variety reported he was “shocked.”)

"Another thing one winds up noticing is all the gyrations the camera and editing seem to go through in avoiding revealing any of the demure Ms. Portman's naughty bits." Still remembering her being sort-of-nude-but-turned-sideways in that overpretentious Wes Anderson short which was the mini-prequel to THE DARJEELING LIMITED (HOTEL CHEVALIER).

Certainly Aja's PIRANHA (which I finally saw in 2D) also qualifies for the description of "unapologetic tacky luridness."

Another in the line of unofficial Sony remakes e.g. GUESS WHO? (GUESS WHO'S COMING TO DINNER) and that ROOMMATES Screen Gems thing with Leighton Meester, Minka Kelly and Cam what's-his-name-from-BURLESQUE (looks like yet another trip round the mulberry bush of SINGLE WHITE FEMALE).