SPEAKING OF THE MUPPETS, YOU'RE UP NEXT IN A JASON SEGEL MOVIE.The Five Year Engagement, yes. Very bawdy, silly, funny movie. It's about a couple who can't seem to get it together and get married. Through various ludicrous events they can't get it together.
DID SEGEL KEEP HIS PANTS ON IN THIS ONE? There was an option of no pants. I think he was pantless on the set; whether you see it or not is another thing. It was a wide shot and then they went for the close-up. He has no shame, Jason Segel.
NOR SHOULD HE. THOUGH HE'S NO MICHAEL FASSBENDER. SO YOU'VE BEEN MAKING FILMS SINCE 2004. HAVE THINGS IMPROVED FOR WOMEN IN THE MOVIES IN THAT TIME? I don't know if it's changed that much. I think there are fewer great women's roles out there; that's the lamentable story that everyone tells. But it's true. And you have to delve through a lot of bad scripts and bad roles to find the good ones. And when you find the good ones it's a feeding frenzy.
I try and find parts that challenge and scare me in some way. Last year I did one with Colin Firth [Arthur Newman, Golf Pro, not yet released], where we both play these demented social outcasts who are trying to escape their odd lives. So that was a challenge. And I shot Looper. It's a very tightly woven thriller set in the near future. There is a time-travel element, though it's dealt with as somewhat of a backdrop. Very smart and complex. I can't really talk about it much; I don't think I'm allowed to.
SORT OF A PHILIP K. DICK KIND OF THING? It's very twisty and smart. I play a tough Kansas farm girl.
IS SHE A HARRIED ASSISTANT? I'm not an assistant. I own this farm. I run it. I chop wood. I don't answer to anyone.
Related:
Review: The Iron Lady, Review: Carnage, Review: The Adventures of Tintin, More 
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Meryl Streep's two films with Phyllida Lloyd, Mamma Mia and this silly biopic, demonstrate that even when the world's greatest actress is at the peak of her powers — whether dramatic, comic, or musical — it's not enough.
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As befits someone with jail time hanging over his head, Roman Polanski does his best work in close quarters. From Knife in the Water , to Repulsion , to The Tenant and The Pianist , he's a master of claustrophobic close encounters, and as such has a good time adapting Yasmin Reza's play, God of Carnage .
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I don't know how fans of the title hero are going to take this adaptation, since I'm not familiar with the classic Hergé comic strip on which it's based, but followers of Steven Spielberg might regard it as a second-rate, animated Indiana Jones.
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Compared to the non-stop trauma of Precious , or even Gun Hill Road , Dee Rees's first feature plays like an episode of The Cosby Show .
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Taking a cue from Kieslowski's Three Colors by way of the British Red Riding series, this TV trilogy from three German directors of the Berlin School starts out with a creepy aura of dread and mystery and ends with contrived and unsatisfying resolutions.
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True to its name, this standard heist thriller is a composite of knock-offs, but when Sergio Leone's Once Upon a Time in America is among the sources ripped off, the quality is pretty high.
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In Philipp Stölzl's fanciful portrait of the artist as a young scamp, the future genius (Alexander Fehling) introduces himself as "Goethe with an 'oe'," earning a reputation as a pratfalling screw-up.
- Review: The Mighty Macs
Based on a true story, but drawing on every underdog sports movie ever made, Tim Chambers's tale of Immaculata College's 1971 championship women's basketball team had me going — up to the regional semi-finals.
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It seems that before actually performing in a Renaissance Faire, actors first have to appear in a movie about one.
- Review: Happy Feet Two
Lovely to look at despite the 3D, and sometimes bordering on the psychedelic, this crack-brained morality tale blends the sublimely weird and the cloyingly awful as it preaches once again the paradox that you should be true to yourself as long as you are in step with everyone else.
- Review: Love Crime
Love Crime deconstructs the genre by showing how to put together a mystery in order to deceive and manipulate those who would try to take it apart.
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