Arthur, o Milionário Irresistível

Being a fan of Dudley and the original movie, I started watching this with some trepidation, probably ready to unleash criticism at the slightest weakness. You soon, however, realise that this is a completely different take on the idea and I had the feeling that everyone was perhaps trying a little too hard to be funny. There was certainly some snappy dialogue and it was a colourful, slushy experience that didn't succumb to my notoriously low boredom threshold.

Overall, a lot of fun, despite some slightly nervy acting in places and a few scripting issues. Not laugh out loud like dear old Dudley, but an admirable attempt when you consider just how good the original was.

Was this remake horrible? No, but it also wasn't that great. In only a couple of scenes did this film lift itself above mediocrity. In comparing this update to the 1981 version, the original is simply better on every point. Russell Brand is probably the best choice they could make for the lead, but he doesn't measure up to Dudley Moore's Arthur. And the wonderful Helen Mirren does her best, but she just can't match John Gielgud's witty portrayal of Hobson. The writing fell particularly short of the mark. The one bright spot for me was Greta Gerwig, whom I had not previously seen. She did a fine job of making a thinly-written character become real. I look forward to seeing her in the future.

I absolutely despise Russell Brand so naturally I assumed that I would not like this movie one bit. That, however, was not at all the case. Sure, the movie started with Brand's typical ridiculous antics and obnoxiousness but it turned out to be quite entertaining. Brand, for once, was able to actually make the transition from ridiculous idiot to still idiotic but also charming with his humor. Also, Helen Mirren stole the movie. She is truly something else. I don't think I'd be alone in saying she is one of the premier actresses in Hollywood. Her character's dry humor but strength and caring shined through perfectly and was the highlight of the film. Garner and Gerwig's characters are also pretty interesting. Garner doesn't really step outside the box with this performance but it was still solid. I was pleasantly surprised with Gerwig though. I had never seen her in a meaningful role and she was very solid in portraying her emotions. All in all the movie was just a pretty good film and it was definitely worth watching.

The original Arthur, was and is a great film. It was funny, well written and well acted. It garnered 4 Oscar nominations and 2 wins. It won 4 out of 5 Golden Globes. John Gielgud so deserved his award so well that year. Dudley Moore, in the title character, had the same lovable charm that Russel Brand has in this remake. But, there are several things missing which make the 2011 version an OK film, and not a part of cinema awards. First, its 2011 and not 1981. The original version would never be made today. Plain and simple. Arthur was a drunk. A hard drinker, who fell down, slurred words,and yes, even was driving drunk in several scenes. No way would that get approved today, or anyone think it was funny. It was this funny drunk that made Dudley's Arthur so much fun, even though today we would rush for interventions or rehab. Second, the director forgot this is a New York film. It is set in New York, but so much changed from one film to the other that the setting was indifferent here. No more neighborhood bars, dinners, landmark shopping sites, or eateries. There is one really good scene involving Grand Central, but it does not make up for the lack in the rest of the film. Linda becomes Naomi in the new film. She is not a New Yorker. Does not look like one, or act like one. She plays the part well, but its just not the same. Again, this remake could be set anywhere. Can you imagine the original anywhere but NY! Third, as good as Helen Mirrim is, she is not the Hobson that John Gielgud presented. She will not get any awards for this presentation. So, if you do not make any comparisons, you will like the film, but most likely not fall in love with it for 30 years. The film is well acted, written in parts, but it steals one lines too much from the original, that just seemed forced here or are not well placed. Whereas we see Arthur drink, he never really seems drunk. The relationship with Hobson is presented as a mother/son, rather than father/son. It was hard to believe in the relationship as much as the previous film. The chemistry between Arthur and Naomi was believable and flow very well throughout the film. Susan Johnson, played by Jennifer Garner had much more of a role here than the original. It needed to be reverted back. It was just not funny. Lastly, Nick Nolte was just plain horrible and nasty. He could have been written out completely. It made no sense for plot development. So, the new Arthur is as an OK remake, but not as good as it could have been.

A drunken playboy stands to lose a wealthy inheritance unless he marries a woman he doesn't like, meanwhile he falls for tour guide that his family doesn't approve of.

Entertaining comedy in which Russell Brand surprisingly comes across more lovable that Dudley Moores original incarnation. There are some genuine funny scenes notably with a magnetic bed, children's store, the Batmobile getting pulled over (yes, really) and when Arthur goes nail gun happy with future father-in-law Burt Johnson perfectly played by Nick Nolte.

The realistic sets, New York setting including Grand Central Station act as interesting backdrop that director Jason Winer full utilises. Greta Gerwig as the love interest Naomi Quinn is on likable form while Jennifer Garner refreshingly goes against all American girl typecast as socialite Susan Johnson. Evander Holyfield, Luis Guzmán and Geraldine James Geraldine James put in an appearances. Helen Mirren's Hobson is touchingly portrayed and Mirren steals the show with her grounded and humanistic performance.

Overall the story stinks of countless 80's rom-coms but Arthur is entertaining nonetheless due to its nostalgic yet contemporary reworking and Russels' engaging tongue-tied performance.