Another Brendan Gleeson action/comedy written/directed by a man named McDonagh – but this isn’t the guy who made In Bruges, it’s his brother. You see how that could be confusing.

There’s a serial killer on the loose, perhaps, and Gleeson is the local cop on the scene. Or it’s a drug crew faking the serial-killer thing to throw people off their scent. A young cop disappears and his wife is bugging Gleeson to find him. And FBI agent Don Cheadle (his character is from Atlanta, yay) shows up but finds his fancy training is no match for Gleeson’s down-homey knowledge and instincts. Also, Gleeson is a huge racist and thief, but that’s all played for laughs.

Our mismatched team takes on the druggies (incl. Liam Cunningham, priest in the super long-shot of Hunger, and Mark Strong, dude who lives in a trailer for most of Tinker Tailor) by themselves at the end. Gleeson blows up. Or he swims away with a half-billion in cash, depending who you believe. Anyway, it’s a diverting-enough picture, but my favorite bit was an excerpt from The Shout, which Gleeson sits at home watching between murders.

Valentine’s Day screening with Katy (who liked it more than I did, but has issues with Owen Wilson) ends my 8-year ban on Woody’s new films since his Melinda & Melinda was so awful. Owen is about to marry irredeemably bitchy Rachel McAdams (potentially of the next Terrence Malick movie), so they’re vacationing in Paris with her condescending/republican parents (Kurt Fuller: Karl Rove in That’s My Bush! and Mimi Kennedy: the anti-war diplomat trying to wrestle into the war meeting of In The Loop, also of the Mr. Boogedy movies).

Owen is an annoyingly self-effacing frustrated novelist (but not so self-effacing that he doesn’t push people he’s just met into reading his manuscript) and a lover of old-fashioned things. At the titular magic hour/location he finds himself in his ideal 1920’s, mingling with Zelda Fitzgerald (Alison Pill: Scott Pilgrim‘s girlfriend), Salvador Dali (Adrien Brody, wonderful), Gertrude Stein (Kathy Bates) and fifty others. Each time Owen manages to stammer out their name and indicate that it’s an honor to meet them, then the famous character gets a couple lines before we’re whisked away to another famous character. Owen also meets non-famous Marion Cotillard, who dreams of an even earlier time, and then that ol’ Paris magic whisks her and Owen back to a pub in the 1880’s or 90’s where she meets her own art heroes (Toulouse-Lautrec, Gauguin and Degas) – who dream of an even earlier golden age. This was my favorite bit, where the movie seems to mock Owen and its own nostalgic premise. Marion opts to stay in her ideal past, but Owen returns to his present, dumps his wife (she was sleeping with Michael Sheen anyway), and picks up tour guide Lea Seydoux (baddie who shoots Paula Patton’s boyfriend in Mission Impossible 4).