I thought there might be a decent riff-and-comment thread in discussing not-very-good films with great-sounding titles. His Kind of Woman, for me, is a total home run title — sexy, romantic, sly, knowing. But it just lies there as a film. I saw it for the first time about two or three years ago and I couldn’t believe how mediocre it was. So I figured there must be several others in this vein.

Then I thought it over and remembered that movie titles are so blunt and utilitarian these days (and in fact have been so for the last several decades) that titles with any sense of lyricism or intrigue are almost nonexistent. Titles like His Kind of Woman, I Died A Thousand Times, Ship of Fools, Out of The Past, Phffft, Bonjour Tristesse, The Bridges at Toko-Ri, Love Is A Many-Splendored Thing, All About Eve and Letter to Three Wives just don’t happen any more.

But if anyone can think of any cool title-bad movie combos from the ’80s, ’90s or aughts, please forward. Or great films with lousy titles…anything.

The earlier plan was for Alexander Payne‘s The Descendants (Fox Searchlight) to open on 12.16. The current plan, announced this afternoon, is to open on 11.23. Is this about the momentum factor between the early September festivals and the theatrical opening? The Fox Searchlight guys are unveiling The Descendants at Telluride-Toronto. I’ve read the Descendants script and am presuming good reviews will happen. With a Thanksgiving opening the FS team will have to keep the ball in the air for eleven weeks, as opposed to 14 and a half weeks with a 12.16 opening.

Alain Corneau‘s Love Crime (Sundance Selects, 9.2) is an icy, brittle thriller about a corporate power war between a 40something super-exec (Kristin Scott Thomas) and a 30something up-and-comer (Ludivine Sagnier). I’m not spilling details but I do find it strange that a perpetrator of a crime would decide to interrupt his/her career by going to prison, knowing full well that evidence has been planted that will eventually exonerate him/her. Why go through that?

This is about 17 years old, but it would still fit nicely into the forthcoming Rupert Murdoch phone-hacking movie.

Top Gun meets an aquatic Independence Day. And a guy gets blown backwards by an explosion! How can Liam “paycheck” Neeson keeping making shite like this? I can’t stand this. Kill me now. Please.

I got more enjoyment out of David Letterman‘s Elizabeth Taylor jokes during Harrison Ford‘s 7.21 visit than I did from any one moment in Cowboys & Aliens (Universal, 7.29). I’m just being honest. Letterman told the joke twice and it worked both times. Jon Favreau and DreamWorks and Imagine and a platoon of screenwriters and the Universal guys invested a couple of years and $100 million to make this thing, and what did they make? Basically a big, noisy, ComicCon alien-invasion film with an agreeable sprinkling of old-west characters and atmosphere.

Yes, a lot of writers were thrown at Steve Oedeker‘s original screenplay — Roberto Orci, Alex Kurtzman, Damon Lindelof, Thomas Dean Donnelly, Joshua Oppenheimer, Mark Fergus, Hawk Ostby — and yes, some mildly interesting Old West elements with decent flavoring came out of this process. But the writing overall is still on the crude and primitive side and just okay, and the fundamental delivery is mainly about thump-wham-whoosh-rumble-boom. Orci was quoted a while back as saying the film is “Unforgiven with an alien invasion.” The man is kidding himself.

I’m glad an effort was made to westernize and humanize the film as much as possible in order to keep it from being Wild Wild West. It would been unbearable without this, but it’s still a movie for 13 year olds. It’s blunt, schematic and bludgeoning. And it resorts to familiar moves every step of the way. The punches, shootings and explosions are relentless, and the punches all sound like trucks slamming into a mountain of wrestling mats at 70 mph. And the movie is way, way over-produced.

SPOILER: There’s a bizarre shot at the end of the grand, overbaked finale that was obviously inspired by a certain real-lfe event that happened 25 years ago. Favreau and his team can’t deny this.

There’s a fascist tyranny to ComicCon movies that dictates that the same visual and aural elements and same bullshit cliches be used time and again to the point of punishment. It’s the same light-brown crap over and over and over, and it’s hell to sit through. (Tell me I’m wrong, Drew McWeeny.) This is why ComicCon movies are truly evil and poisonous, and why Favreau and other geek-friendly directors need to severely dealt with. I’m serious. These movies are cancer.

There’s a scene in which a creepy alien sound is coming from outside in the dark, and a lovable dog goes to see what’s up and three seconds after he disappears from sight he YELPS and CRIES. But later on he’s fine. Favreau gets ten demerits for the yelping and 25 if not 30 demerits for letting the dog live. I realize that you’re not supposed to kill dogs in movies, but…God, I hate what Favreau has turned into. All through Cowboys & Aliens you’re begging him not to follow the handbook. You’re moaning “please, please don’t do what I think you’re going to do”…and then he does it anyway. And then he attends a premiere and tells a red-carpet CNN interviewer that “this is why I really love directing.”

Is it possible to watch a ComicCon movie in which a character is not blown backwards from a super-hard punch or some kind of explosive impact? Or is it written into every contract for every ComicCon movie that this kind of thing has to be seen at least once?

And I’m getting really sick of the numbingly repetitious design of aliens in these films. The Cowboys & Aliens aliens are a blend of Ridley Scott and H.R. Giger‘s Alien monster and the big gurgly green guy in Super 8. They have slimy gloopy muck dripping out of their mouths and a gloopy slimy three-fingered hand appendage that pushes out from inside a mucky chest cavity, and that’s very boring.

The Cowboys & Aliens model & effects guys were apparently interested in creating a new kind of monster…but not really. They were obviously terrified of being too original so they borrowed from all the other life forms they’ve seen in other alien movies. How can they live with themselves? Do they honestly expect people like me to go, “Wow, cool”? You know what would be cool at this stage? Hiring seven-foot-tall guys in Martian suits with zippers up the back of their outfits to run around with ray guns and go “aaaah!”

All alien movies are designed by the same community of Hollywood craftsmen, and they all make monsters with the same digital gurgly sound. They all know each other and put their kids in the same schools, and they all copy each other. It’s the same syndrome you get with hillbillies marrying their siblings and cousins and their kids turning out deformed.

So the Ides of March poster is a wide-angle thing with the left and right versions all hazy and out-of-focus? That’s not right. One-sheets have to conform to the usual 27″ x 41″ aspect ratio, or a single, stand-up, vertical-favoring image. George Clooney ‘s political drama plays at the Venice Film Festival on 8.31 and opens on 10.14.

I’ve been figuring all along that Jason Reitman‘s Young Adult would play Telluride-Toronto, just like Reitman’s Juno and Up In The Air did. But tonight Deadline‘s Pete Hammond reported that he’s “confirmed” that’s Young Adult “won’t be riding the fest circuit.”

Charlize Theron, star of the gun-shy Young Adult.

That sounds rather odd. The word on Young Adult, which is based on an obliquely autobiographical script by Diablo Cody, is that it’s tough but strong with Charlize Theron playing a somewhat abrasive, emotionally unstable writer. ESPN’s Bill Simmons saw Young Adult a while back and called it “tremendous.” But the Paramount team has obviously thought things over and decided there might be a potential downside to Tellluride-Toronto unveilings. Do the math.

The Wiki synopsis says Theron “plays Mavis Gary, a writer of teen literature who returns to her small hometown to relive her glory days and attempt to reclaim her happily married high school sweetheart (Patrick Wilson). When returning home proves more difficult than she thought, Mavis forms an unusual bond with a former classmate (Patton Oswalt) who hasn’t quite gotten over high school either.”

Here’s the teaser for Cameron Crowe‘s Pearl Jam 20, presumably a hagiography kiss-ass doc about Pearl Jam‘s history and legacy. It’ll play at the 2011 Toronto Film Festival…I know that much. With an avalanche of award-calibre films playing TIFF, this is the kind of thing you see if you can fit it in…maybe. But preferably before or after the festival.

Pic will reportedly “open” on 9.20.11 “in select theaters for one night only in celebration of Pearl Jam’s 20th anniversary with full run beginning on 9.23 in key markets,” blah blah.

I realize that the idea of Geoffrey Rush playing Rupert Murdoch in the inevitable phone-hacking-scandal movie (however and whenever it gets made) has been kicked around on this and that site. How could there be any choice but Rush? The face, voice, scrappy Australian accent, the right age, etc. It could be Rush’s signature role a la George C. Scott-as-General Patton.