Until the 1990s there had never been a film based upon Jane Austen's "Emma". Then two came along in the same year, 1996. Or, if you count 1995's "Clueless", which updates Austen's plot to a modern American high school, three in two years.
The main character is Emma Woodhouse, a young lady from a well-to-do family in Regency England. She is, financially, considerably better off than most Austen heroines such as Elizabeth Bennett or Fanny Price, and has no need to find herself a wealthy husband. Instead, her main preoccupation seems to be finding husbands for her friends. She persuades her friend Harriet to turn down a proposal of marriage from a young farmer, Robert Martin, believing that Harriet should be setting her sights on the ambitious clergyman Mr Elton. This scheme goes disastrously wrong, however, as Elton has no interest in Harriet, but has fallen in love with Emma herself. The speed with which Emma rejects his proposal makes one wonder just why she was so keen to match her friend with a man she regards (with good reason) as an unsuitable marriage partner for herself. This being a Jane Austen plot, Emma turns out to be less of a committed spinster than she seems, and she too finds herself falling in love, leading to further complications.
Today in 2008 Kate Beckinsale is a Hollywood star, but in 1996, despite being only a year younger, was not nearly as well-known internationally as Gwyneth Paltrow. She is, however, just as convincing as Austen's well-intentioned but often wrong-headed heroine. Beckinsale seems to have a gift for classical roles- she made a delightful Hero in Kenneth Branagh's version of "Much Ado about Nothing"- and I sometimes find myself wishing that Hollywood could have found more suitable roles for her rather than wasting her in turkeys like "Pearl Harbor" or "Underworld".
I preferred Jeremy Northam to Mark Strong as Emma's love interest Mr Knightley, largely because he came closer to my own conception of the character as a gentlemanly, chivalrous older man, in some ways more of a father-figure to Emma than a lover. (His surname is probably meant to indicate his gentlemanly nature- nineteenth-century gentlemen liked to think of themselves as the modern equivalent of mediaeval knights with their elaborate codes of chivalry). Strong tends to downplay the question of the age difference (he is 37, she 21) and makes Knightley more of a passionate lover and less of a wise mentor than does Northam. Samantha Morton (another actress who would go on to bigger things) is perhaps closer to the Harriet of the novel than was Toni Collette.
This was the more small-scale of the two versions, being made for television rather than the cinema, and the sets and costumes seem less lavish and there are fewer big names among the cast. Costume drama, however, is generally something that British television does well, and this version can certainly hold its own with the cinema version; both are entertaining and well-made versions of Austen's novel. 7/10

Simon Pegg stars as Sidney Young, a stereotypically clumsy idiot Brit working as a celebrity journalist in this US comedy. After getting a very lucky break he starts work at the highly respected Sharps magazine run by a reliably on form Jeff Bridges in New York. It's more The Devil Wears Prada than Shaun of the Dead. The unlikely love interest is provided by Kirsten Dunst who works well with Pegg for the laughs but they don't exactly set the screen ablaze with their passion.
Sidney goes through some emotional challenges while trying to decide if he should forget about his journalistic principles in order to get material in the magazine. Of course he's eventually seduced by the glitz and glamour of the world of celebrities especially the young starlet Sophie Maes (Transformers' Megan Fox). Fans of Shaun of the Dead, Hot Fuzz and Spaced will wonder if Pegg himself ever experienced similar feelings in real life with this film and to an extent Run Fat Boy Run as one of the UK's best comic talents being ruined by the US.
All in all this is a forgettable comedy. Please come back to us Simon, we can forgive and forget.