“Can I stay for a while?” “No, Hugh Grant. Fuck off.”

Everybody at some point in their life has had a boss so dreadful that, if given the chance, you really would consider subjecting them to some kind of Saw or Final Destination-esque torture. But in movie land we all know that things are always ten times worse. So to mark the release of Horrible Bosses, we are going to count down the absolute WORST bosses in film.

It’s that time of the week again; that ‘we all want to get home but we’ve agreed to write one of these every Friday – quick, someone pop to the shop for some vitriol and poorly conceived opinions!’ time of the week. Facing off this week are the two GIANTS of Best For Film, and they’re tackling perhaps the most pertinent issue of all: was Two Weeks Notice any good?

In many ways, film posters exist outside the tightly wrought bonds of grammar and punctuation. As stepping stones to another higher, inherently visual medium they do not have to conform to the petty linguistic scrabblings that the rest of us mere mortals cut our gums over. They can damn well do whatever they please; whatever it takes to get across their meaning. Except, of course, they obviously can’t. Obviously.