Gambit (2012)

“Gambit” takes the 1960s Michael Caine Brit caper of the same name –- which I have only seen sections –- and casts Colin Firth and Alan Rickman in roles tailor made for each man’s screen persona. Firth is the charmer. Rickman is the asshole. Firth’s plan: Sell a fake Monet to Rickman’s media tycoon, and get rich. We have Joel and Ethan Coen given screenwriter credit. Don’t believe that PR move. Whatever version they wrote died long ago. Nor should you believe the flimsy animated credits opener that wants us to think “Pink Panther,” but delivers nothing of the sort. Believe nothing about this romp. The main gag has Firth’s hero as a delusional con artist who sees ideas play out perfectly in his mind before reality kicks in. He attracts disaster. A wink at Firth’s unending charisma? No. Director Michael Hoffman pulls the worst gotch’ya ender in history, negating the entire movie. Worst bit: Cameron Diaz channels Jesse from “Toy Story” as a cowgirl at the center of the wonky plot. She’s intolerable. D-

The King's Speech (2010)

I feared “The King’s Speech” might be another ho-hum British drama about excessively privileged white people battling a hardship that 85 percent of the world’s population would kill to have. I was wrong. It’s damn smart, surprisingly funny, and proudly uplifting. King George VI (Colin Firth) had an untreated speech impediment mostly hidden from public. But as Nazis called for war, George had to lead not with a sword, but with a calm and commanding voice. Smartly portrayed, Firth’s king knows that when he speaks, it will result in lives lost. He wants to be worthy of his people. This is about them. Not him. Geoffrey Rush is the speech therapist who helps George find his voice. (I swear it's not corny. Square, yes. Oscar bait, yes. Corny, no.) The lessons make for solid buddy comedy and social satire as the two bicker and learn to say the “F” word. Firth has Oscar clips galore, but it’s his quiet scenes that impress, such as telling bedtime stories. This was intended as a play, and its dialogue –- witty and strong –- is as good as any stage production I’ve seen. A-

A Single Man (2009)

Colin Firth is “A Single Man.” But not by choice. His George Falconer is a closeted English professor devastated by the death of his longtime companion. Unable to cope, George has decided on suicide. The film follows what is to be George’s final day, with flashbacks to happier times inserted throughout. Firth is wonderfully understated in the role of man who knows that he himself must play a role of cool and reserved, so as to not divulge his lifestyle in stiff 1962 America. This is the debut of fashion-star Tom Ford, and he uses the camera quite well, especially when George’s bleak outlook suddenly explodes with color upon seeing an object, or a person, that pleases him. Costume design and art direction are tops, if not over the top. (Even the wacky neighbor children appear to be hired from an L.A. modeling agency.) Julianne Moore oddly channels Ann Margaret from “Tommy” as she plays boozer Charley, a former, quick flame of George’s who foolishly thinks she has a chance. Minor grudges in a fine film about a man attempting to grief lost love in a world that doesn’t even recognize his love. Expect much sadness. B+