Two things I enjoyed about Definitely, Maybe, which came out on DVD today: the cheesy jokes about New York City in the early '90s and the fact that it is a chick flick for guys. What I mean by the latter is that the movie seems targeted to females yet it caters more to the male viewer. It's basically a male fantasy: Ryan Reynolds tells the story of how he dated three beautiful women (played by Isla Fisher, Rachel Weisz and Elizabeth Banks), one of whom he married and later divorced -- meaning he's now single again. And he also got a cute, precocious daughter (Abigail Breslin) out of the deal who becomes beneficial to him in his return to bachelorhood.

But then is it really a chick flick? I guess it is if you count romantic comedies in that grouping, though the genre has never necessarily been aligned with the term, nor vice versa. And in the age of Judd Apatow, it's more likely that any new romantic comedy is actually a guy movie. Do many men realize it's a movie for them, though? Probably not. Though chick flicks are typically movies primarily populated by women characters and/or a female protagonist (think Steel Magnolias), romance films not made by either Apatow or the Farrelly brothers may be thought of as being for the ladies, even if they feature a male lead, like Reynolds in Definitely, Maybe.

I'll admit I've always been confused about chick flicks as a term. I apparently enjoy many so-called chick flicks, including even (especially) Beaches. So, I may not be using the term correctly in this list. However, I am a guy and I know what guys want. So, I'm going to do this my way, and answer the following question: What other films may have been initially perceived by males as being made for chicks but which turned out to be more for them (us)?

My dad died four years ago, so Father's Day is bittersweet for me. Yet it's also an occasion to remember all the good times we had in connection with the movies.

Rather than recount the most uncomfortable experiences (fuming about the profanity in a movie I'd recommended the whole family see, while I cowered; listening to him awkwardly define "rape" after my pre-teen sister heard it in a movie I wanted to see), let me tell you about the time my brother and I convinced my parents to see The Sting.

We'd seen it early in 1974 and loved it; after it won several Academy Awards, we urged them to go and they finally agreed. (They'd reduced their moviegoing to once every few years by that point.) We were nervous, because The Sting had a little profanity and even a brief, risque dancing scene with Sally Kirkland (OK, my eyes popped out).

Before it opened, there was much public mulling over whether Harrison Ford had the stamina at age 65 to play Indiana Jones one more time. Apparently the box office grosses answered that question. It was an irrelevant question, anyway. In those Indiana Jones movies, the machinery is what mattered. Ford was there for the ride, just like the audience. I think what was missing in ...Kingdom of the Crystal Skull is the elegiac qualities of a late period performance ... for example, the aging heroism in John Wayne's last great movie.

True Grit isn't just the sword outwearing the sheath, and the soul outwearing the breast, as Byron put it. It's also about remaining power in an old carcass. Wayne's rallying of that power in the film's memorable duel: blinking his one good eye at the shock of being called a fat old man, he takes his horse's reins in his teeth and rides down four gunmen. The film is often a comedy, with lines worthy of Mark Twain in it; so much so that the emotional content blindsides you. Every film class in the world quite justly talks about the end of The Searchers, John Ford's image of Wayne framed by a doorway, never at home or really at ease. True Grit has a scene to equal it: a gentle if tersely written scene at a snow-covered grave yard in the high country, with approximately the emotional fire power of the finale of James Joyce's The Dead.

I just love those lists that are supposed to represent the fandom of the general public. This is probably because my preferences rarely converge with them. Sure, some of my tastes are a little off the beaten path -- I'd pick Danny Huston over Brad Pitt, or Julie Delpy over Julia Roberts. That being said, I still love me some good mainstream. Yet I still find myself raising my brows when I read these lists, just as I did today when I saw the annual Harris Poll for America's favorite movie stars, which Hollywood.com put up today. The order is surprising, as is the one lone oldie to the group.

Their results, counting down from 10 to 1:

10. Bruce Willis
9. Sandra Bullock
7. (tie) Matt Damon & Sean Connery
6. John Wayne
5. Will Smith
4. Julia Roberts
3. Johnny Depp
2. Tom Hanks
1. Denzel Washington

Yes, that's John Wayne there at number 6. Apparently he is the only actor to nab a spot on the poll every year since its inception in '94. Also, Depp is quickly working his way up the ranks, having moved up four positions from last year. Personally, I find the list surprising, and a bit sad in the realm of women in cinema. What say you?

Any good performance is made up of myriad subtle nuances that go into turning an actor into his or her character. There's only so much costuming and makeup can do though -- certain roles just require a particular accent to make it work. Some actors are known for their uncanny ability to pick up and drop accents at will. If you are Meryl Streep, for instance, sometimes you go and learn a whole new language just to make sure you get it right. Occasionally actors take the plunge and decide to do an accent to just show off their acting chops, or to prove that they are serious artists and not just, "movie stars." Others take on a role that requires an accent, and then just seem to hope we'll overlook how badly they mangle it. The unfortunate actors on this list may have aimed high (or not), but they all missed the mark. And in some cases, they almost managed to take out the entire film solely with their bad accents.

1. Kevin Costner - Robin Hood: Prince of Thieves

No list of bad accents would be complete without the granddaddy of all bad performances; Kevin Costner as Robin of Locksley. This 1991 stinker cast the corn-fed Costner as a British Lord with a penchant for thievery and social justice. But in spite of Costner's revolving door of accents, the film still went down as one of the biggest box-office hits of 1991, second only to Terminator 2: Judgment Day. Costner has also conceded that he never really had the time to work on a real accent (You don't say? We'd never have guessed ...). With a budget of $48,000,000, you would have thought they could have spared a few bucks for a dialect coach. But perhaps worst of all is that this film is responsible for unleashing Bryan Adam's unholy power ballad "Everything I Do" on the world and ruining wedding receptions forevermore.

2. Val Kilmer - Alexander

Now I know what you are going to say, how could I overlook Angelina Jolie and her laughable 'Gypsy-Russian' hybrid? But Kilmer as the one-eyed King Phillip gives Jolie a run for her money in the laughable accent department with his Leprechaun-inspired Irish/Welsh brogue. Director Oliver Stone has plenty to answer for when it comes to his epic drama. The wig selection alone deserves some serious mea culpas. But, this is a list about accents after all, so we go straight to Stone's decision to hide Colin Farrell's natural Irish accent by surrounding him with what sounds like a chorus of Lucky Charms spokespeople. Jolie might have been over the top, and writhing with snakes, but Kilmer still stands out as a bad accent and a horrible stylistic choice all rolled into one.

Today we salute the military veterans who have either served in wartime or in peace. I think technically Veteran's Day specifically honors war veterans, but I don't see why the non-combat military personnel needs to be excluded. Still, in the movies, it's the war vets that are most memorable, and on this holiday, I'd like to present my list of seven favorites.

Obviously this list isn't comprehensive -- in fact, I don't feature any examples of the now-stereotypical Vietnam vet character, which would include Tom Cruise in Born on the Fourth of July or Gary Senise in Forrest Gump. This is just a list of characters, positive and negative, that I prefer and which I think somewhat represents the wide and diverse scope of war vets.


"Homer Parrish" from The Best Years of Our Lives (1946, William Wyler)

About fifty years before Robert Zemeckis was digitally removing Gary Senise's legs to make him the disabled vet Lt. Dan of Forrest Gump, William Wyler directed a real amputee veteran named Harold Russell as the handicapped character Homer Parrish in this movie about the difficulty of coming home following World War II. Russell actually won an Oscar for his performance as Parrish, a former high school quarterback who returns to his childhood sweetheart, with whom he's engaged and for whom he no longer feels good enough. The actor/character has hooks for hands and appears in some sappy, obligatory scenes where he has trouble with them, but he ends up a guy that is beloved more than pitied, and it's almost easy to forget he has the handicap, especially after hearing him play piano with the false limbs.

The UK's Times Online has an interesting piece up about great Hollywood director-muse partnerships, from John Wayne and John Ford, to George Cukor and Katherine Hepburn, to Ingmar Bergman and Liv Ullman. As the article's author Ian Johns notes, these kinds of filmmaker-actor partnerships are less common these days, as directors have a wider array of big-name stars to choose from. Yet, there are still some profitable and creative partnerships out there. Martin Scorsese appears to have moved on from this 1970s and '80s pairing with Robert DeNiro to his modern creative muse, Leonardo DiCaprio, with whom he has made Gangs of New York, The Aviator, and now The Departed, with a fourth partnership -- a film about Theodore Roosevelt -- reportedly in the works. Russel Crowe and Ridley Scott worked together first in The Gladiator, then most recently in this year's TIFF offering A Good Year, and they went straight from that into shooting American Gangster together.

Johns goes on to make mention of Pedro Almodóvar's ensemble cast in Volver, where the director featured his favorite muse of the moment, Penelope Cruz alongside Carmen Maura, whom he directed in the 1980s. He doesn't mention my favorite director/ensemble combo of the moment, Christopher Guest and his amazing repeat performers, including Eugene Levy (with whom Guest also co-writes), Fred Willard, Catherine O'Hara, Bob Balaban, Michael McKean and Parker Posey, to name only a few. So pivotal are these actors to Guest's latest films that I can't imagine him making a film without them at this point. They work together with an incredible ease that makes the improvisational style of Guest's films really work.

The article does give props to one of my favorite director/actor pairings: François Truffaut and his on-screen alter-ego, Jean-Pierre Léaud. One of the greatest joys of watching movies in my cinematically geeky life has been watching Léaud grow from boy to man as Antoine Doinel, starting in 1959's The 400 Blows, the film that first earned Truffaut respect at Cannes, when Léaud was just 15, through 1979's Love on the Run -- a 20-year run of great filmmaking. Leaud worked with other directors as well, of course, including Jean-Luc Godard, with whom he made 10 films, including Week End in 1967 and, nearly 20 years later, Détective in 1985, but nothing ever quite matched the magic of Léaud with Truffaut.

Who are some of your favorite director-actor pairs? And who would you like to see work together more?

• Bryan Poyser, producer and co-writer of The Cassidy Kids, shares the six most important things he learned from SXSW this year, as a filmmaker and an attendee. I would have thought he'd already know that "dark elves can't be trusted," but then he does live in Austin.

• Doug Block, who directed 51 Birch Street, writes about the SXSW audience reaction to the documentary about his family. Block's father and stepmother were present at the Austin screenings and his dad fielded a number of questions with good humor.
• Micah posted in the comments of last week's Film Blog Group Hug about his Austin-based film blog, Dumb Distraction. He managed to see 21 movies in four days at SXSW this year. I'm in awe. Next year I want to follow him around for a day to see if I can keep up.
• Martin of the new blog Blank Screen wrote a detailed review of East of Havana, the Charlize Theron-produced documentary about Cuban rap music. The entry includes some photos of Theron from the Q&A after the film's SXSW screening.
• Nothing to do with SXSW: Ed Symkus recounts a sweet little tale about chocolate-chip pancakes, True Grit, and the sad effects of bending to parental pressure. Obviously someone needs to open a diner that caters to film geeks ... maybe a chain, with outlets in Boston and Austin.