For his part, Brand draws upon his own party-animal status to play the childlike millionaire, a perpetually inebriated ne'er-do-well who's blackmailed into agreeing to marry a strong-willed socialite (Jennifer Garner) but instead finds love with a sweet girl (Greta Gerwig) from the wrong side of the tracks. Brand is (dare I say it?) the equal of Dudley Moore, who enjoyed a career high mark (and an Oscar nomination) for the original but whose luster dimmed once it became apparent that he tackled every role as if he were portraying a drunk. The result is that the new Arthur is a minor guilty pleasure, a freewheeling comedy that offers a fair number of laughs for those who haven't yet grown tired of Russell Brand (a rapidly shrinking demographic, admittedly). So the fact that Hollywood has dared to serve up a remake is hardly an earthshaking scandal after all, it's not like somebody foolishly decided to remake Citizen Kane or The Godfather or Psycho (oops scratch that last one). ***ДЄRTHUR Here's the dirty secret about 1981's Arthur: It's no classic. Because their casting is so apt, this often feels like a romantic yarn first and a fantasy flick second, with some nifty chase sequences thrown in for good measure. The film's notion that true love conquers all would fall flat with the wrong leads, but Damon and Blunt possess a lovely, laid-back chemistry that allows us to believe in their union. But David refuses to accept his fate, leading the mysterious enforcers to resort to strong-arm tactics to contain the situation. senator David Norris, who meets promising dancer Elise Sellas (Emily Blunt) the pair are instantly attracted to one another, but David soon learns from the members of a shadowy cabal that they are never meant to be together. Dick, this stars Matt Damon as aspiring U.S. Other viewers, however, might appreciate the movie's ability to question omniscient authority with the proper mix of reverence and reflection. Because it tinkers with notions involving God and chance and destiny and all that other stuff that's fun to discuss, it might turn off those types of folks who misunderstood Martin Scorsese's brilliant and heartfelt Christian ode, The Last Temptation of Christ.

THE ADJUSTMENT BUREAU One person's religious beliefs is often another person's existentialist theories, and The Adjustment Bureau offers plenty of theological fodder to go around.

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