Hugh Grant is a British fish out of water — again. In The Rewrite he plays Keith Michaels, a screenwriter who won an Oscar 15 years ago, but hasn't done much since. Divorced and nearly broke, he reluctantly takes a one-semester teaching job at Binghamton University in upstate New York.

After a brief prologue, Spike Lee's Da Sweet Blood of Jesus opens in the same Brooklyn church that was the centerpiece of his Red Hook Summer. The moment seemingly connects Sweet Blood not just to the 2012 film but also to movies further back in his career, since Red Hook itself was billed as part of Lee's "Chronicles of Brooklyn," which include his early classics like She's Gotta Have It and Do the Right Thing.

In the existential comedy Birdman, Michael Keaton plays Riggan Thomson, a washed-up, insecure actor looking for a second shot at fame and success. He's entirely focused on himself. Keaton says this sort of narcissism — "that constant neediness and insecurity and whininess and me, me, me" — didn't come easily to him.

On Friday, I explained what's "cringeworthy" about Sixteen Candles' Long Duk Dong, whose broken English and social ineptitude left a painful stamp on many Asian-American children of the '80s.