Oh, yeah...that same niche as Domenic West. "I'm a bastard, and I know it, but you love it anyway, right?" Except HG is less alcoholic-with-a-heart-of-gold.

So to delve into the modes and methods of the Republican side would make things quite a bit messier.

Right. The political aspect of the film was grossly oversimplified to say the least, and the characters were pretty much all archetypes, there to serve the theme of the fable (brilliantly, I may add.) Most of the moral ambiguity, I felt, lied with the fantastic elements.

It's interesting, because I feel like a lot of fantasy films/literature serve as allegories for real-life political/social/moral conflicts, whereas in Pan's Labyrinth, it was flipped the other way around.

Huh. That's a really interesting way to look at it, Vonnie. I didn't think of that.

That's what I love about this movie. I don't even know if del Toro made it this complex on purpose, but it just is.

I'm pretty sure Del Toro's not a filmmaker who's taken by surprise by unintended layers he wasn't aware of putting in his movies.

Andy Serkis talks about his role in Inkheart.

They're doing a remake of Christmas in Connecticut with Jennifer Garner.

ETA: Russell Crowe is going to be starring in a "revisionist remake" of Robin Hood.

Andy Serkis talks about his role in Inkheart.

Huh. I was guessing he'd be Dustfinger. Is that Paul Bettany?

Rewatched The Departed last night (technically it's not out on DVD until next week, but our local rental place doesn't care), and unfortunately it doesn't hold up as well as I'd hoped. It's just too long -- throughout the entire last half, I thought we were closer to the end than we turned out to be. (And I couldn't help remembering that Infernal Affairs came in under 2 hours.)

It's still enjoyable, for the most part, but it will be disappointing if this turns out to be Scorcese's Best Director winner.

Tonight, we rewatch Little Miss Sunshine, and tomorrow is Letters and The Queen. (E is rewatching Babel this afternoon alone -- I have no desire to revisit any moment of that trainwreck of a movie.)

It's still enjoyable, for the most part, but it will be disappointing if this turns out to be Scorcese's Best Director winner.

The lamented 'unofficial lifetime achievement award'. It's sad how often that happens. As if the truly great work doesn't get appreciated until it is too late.

They should have a category for 'past work that has really held up over time and/or had some significant impact on the culture.'

Or 'cult films we never realized were so great until way later.'

OH, and the much needed "WE TAKE IT BACK" category. First up? Scent of a Woman and Mira Sorvino (who I loved in Replacement Killers and Romy and Michelle, btw.)

Careful, Marisa Tomei will CUT YOU if you propose that last within hearing of the Academy muckamucks.