My apologies for banging on about this all the time, but if the following opening line from The New Yorker’s review of Closer and House of Flying Daggers doesn’t make you at least giggle, then I rest my case:
“The new Mike Nichols film, “Closer,” starts with a man falling in love with Natalie Portman. From this we may assume that the movie is concerned with universal, a-priori truths, although there is a scene in a lap-dancing club when the a-posteriori version comes in handy”