Oh, Gris, I've been counting down to the gay cowboy movie for a year.

And didn't Anne Hathaway have some shocking movie coming out where she was going to be doing full-frontal and girl-on-girl? I know I'd heard something about that.

Whoa!

I met a girl on a cruise who looked a lot like Anne Hathaway. She was really pretty.

The Globe too found FF boring. And, you know, whenever you have a movie with "fantastic" in the title, the risk you run of bad pun reviews is high.

I just watched The Deep End [... ]I was expecting a bit more punch, but instead the plot kind of...fizzled out.

You mean the part with the fistfight in the boatshed? Or that sudden moment where Super Mom cracks and finally has to ask her son for help? Can you describe what felt fizzly to you?

Mostly the part where Alec dies and the movie just ends. It felt too...pat. There was all this momentum building up that didn't pay off in the way I was expecting.

I realize it's a movie, thus, sort of promising a payoff. But I found the ending, after the buildup, to be much like life. And though it bothered me, it did so in the way life events do so. I didn't "like" it, but I found it true.

That's a good way of putting it, Beverly.

Plus, she said, turning on a dime, Hot Doctor Luka! And Tilda? So icy she smoulders.

I think the idea is that the action is subservient to the emotional turning point. The fistfight isn't terribly showy; what matters in which side Alek comes in on. The "chase" in the car isn't important; what matters is who is driving.

(Also, I think the filmmakers couldn't afford a car crash scene.)

In some ways, I think it would be just as interesting if Alek disappeared and we never heard from him again; but I think the death scene is a nod to the film noir elements with which the whole film is in dialogue. Have to have closure, even if closure is actually not closing anything at all (emotionally speaking), only making things messier and more open.

I found that film deeply indifference -nducing after the first half hour. The symbolism (water, dripping, in every single shot) felt troweled on and none of the characters read as human beings to me. It was beautiful to look at, though.

His final scene contained so much unspoken paternal pride even as Bruce/Batman rejects him as a father figure with "I don't have to save you."

See, this is why I think I might need to see it again, because I don't think I got that out of the movie and I'm usually all about the Daddy Issues. But I could. not. get past the fact the weapon absolutely would not work -- or, rather, would work too well -- and I was so busy seething about that (and the fact all the nitpicky people I know had seen it and NOT WARNED ME, and I'm so not a nitpicky type most days) that I couldn't really watch the movie.

OTOH, a big part of me was lost when Thomas Wayne says "Why do we fall? To learn how to pick ourselves up," or whatever it was. Your son could have broken his back and was scared out of his mind, asshole -- now is not the time to impart penny-ante Words of Wisdom.

Anyhow, my theory is that if I go in knowing I'm going to hate that part of it, I might be able to actually enjoy the good parts.

Why if the Golden Ticket contest is "world wide" are all the winning children white?

Aren't they all English-speaking, too? And possibly all actually British? Dahl's world was not so very, um, wide.