Considering the fact that the first time I saw the trailer for Michael Moore’s Capitalism: A Love Story some admirer yelled, “You suck!” from the back of the theater, and since the Fine Arts Theatre lost one poster for the film to some wit who scrawled an expletive across it, I’d say that we’re in for the usual controversy that lies in the wake of every Moore film.

When Rob Zombie first appeared on the filmmaking scene with House of 1000 Corpses in 2003, I wrote that he was ” just a fan who’s made a film and is not actually a filmmaker.” While there’s a core of truth in that statement, it’s not one I would make today. Four Zombie movies later and a lot of revisiting and rethinking Corpses, I’m convinced that Zombie is a fan who is also a filmmaker.

We’re getting a little bit of a break this week—though it probably feels more that way to me, since I’ve already seen and reviewed three of the six movies opening this week for Wednesday’s Xpress: Bright Star, Not Quite Hollywood and Timecrimes. That, however, is part of the reason that I’m perfectly fine with getting a break.

A few days ago I happened to see a picture of LBJ on TV. For whatever reason, the image called to mind a dialogue exchange between John (Bruce Greenwood) and Bobby (Stephen Culp) Kennedy in Roger Donaldson’s Thirteen Days (2001). There’s no great significance in this—except that it’s the only thing I clearly remember from the film. I also remembered that I’d reviewed it, been favorably impressed and gave it four stars. Did it deserve those four stars?