Fair enough. But it's the principle, dammit!

Maybe not, but he's a comedian who's appeared in several other things. (I chose The Wedding Ringer because it's maybe his most high-profile gig, though I'm not sure I recognized him specifically from that.) My point, obviously, is that if the film were really committed to its gimmick, all of the actors would be…

I totally hear you, and it's one reason I couldn't love his last two—they felt fundamentally (if understandably) limited. But TAXI really is a much livelier film, in no small part because he *is* working with actors. Worth a watch.

It can refer to size or scale as well. Less common, perhaps, but acceptable usage. There's a pretty good quote on this very subject on the Merriam-Webster entry for the word: http://www.merriam-webster….

It sounded like fairly standard superhero-score bombast to me.

Under consideration.

An oversight, for sure. Was worth a mention. Sometimes these things just slip through the cracks.

Good call. I'll link it in the first sentence.

Can I just say, I really appreciate you doing this every month. I don't have the time/space to get into every movie up for the Palme—even the ones I'm able to see—and this is a really valuable addition to the comments. Thanks again.

Ellison is still credited as a producer.

I mean, it's a romantic comedy. It certainly follows those conventions. But it's clever and funny and romantic about it. Closer in spirit to When Harry Met Sally than, say, How To Lose A Guy In 10 Days.

It's actually really good and not the nothing movie it looks like.

Yep, I picked that one because of the re-release. Two birds, one stone, etc.

Yeah, I'm disappointed to have said as much, honestly. I do my best to see everything in competition—yes, including the non-American fare—but that ends up being limited by (a) availability, as some non-Western competitors are hard to find, and (b) time, as this feature is already really time-consuming and I have, you…

Point taken, but you'd never confuse a shot from an Andersson film for a shot from an Anderson film. And you know it!

Yipes. Fixed.

Good catch. I've changed it.

Poor choice of words. I've changed them.

You're 100% correct. I'm going to change that. Thanks.

Un Certain Regard is a sidebar of Cannes proper, the same way Midnight Madness is part of TIFF proper. Same festival, different programs. I will agree, of course, that it draws a lot of current and developing talent, and is certainly as deserving of attention as the two parallel fests.