Hollywood Elsewhere just landed at Burbank’s Bob “Join The Peace Corps” Hope Airport. And speaking of Mike Figgis’s landmark 1995 film, I’m wondering why I’ve never watched it on DVD or streaming. Haven’t seen it since ’95, and it’s brilliant. Arguably Nic Cage‘s greatest-ever performance. Okay, this weekend for sure.
A day or so ago a Care2 online petition about Kobe Bryant’s animated short film, Dear Basketball, which has been Oscar-nominated, began collecting signatures. The petition demands that the Academy of Motion Picture Arts and Sciences “rescind” the nomination for Dear Basketball because of the 2003 sexual assault case in which Bryant was accused of rape.
Dear Basketball was written and narrated by Bryant. The director is Glen Keane; the producer is Gennie Rim.
Boilerplate: “On 9.1.04 Eagle County District Judge Terry Ruckriegle dismissed the charges against Bryant, after prosecutors spent more than $200,000 preparing for trial, because his accuser informed them that she was unwilling to testify. Bryant subsequently admitted to an adulterous sexual encounter with his accuser, and then paid her off following a civil lawsuit.” Or something like that.
The signature count is now 15,807, but why does Care2 have a goal of 16,000 signatures? Why not 15,000 or 20,000 or 25,000? Just asking.
Jason Reitman and Diablo Cody‘s Tully (Focus, 4.20) is more of a potential awards-bait vehicle for Charlize Theron than a Reitman comeback thing, which is what I was sensing after catching the trailer a couple of weeks ago.
Tully is a better film than Reitman’s disastrously received Labor Day and Men, Women & Children, so it’s an image-burnisher to some degree. But it’s on the slight side.
Cody’s script is amusingly sharp and sardonic, and Theron’s portrayal of Marlo, a stressed suburban mom coping with pregnancy and child care, is her boldest since playing an alcoholic writer in Reitman and Cody’s Young Adult (’11) and her most Raging Bull-ish performance since Monster (’03), lumbering around Tully with her Aileen Wournos bod.
Mackenzie Davis, Charlize Theron in Jason Reitman’s Tully (Focus, 4.20).
I don’t know if Academy members will be cherishing Tully ten or eleven months from now, but Theron’s performance is angry, open-hearted, prickly, lived-in — an obvious awards-level thing.
Tully is partly a family-unit sitcom and partly a tricky psychological drama. It mostly takes place in a New York-area suburban home occupied by Marlo, her husband Drew (Ron Livingston) and their three kids — a special-needs six year-old boy, a slightly younger girl and a just-born infant.
It’s one of those stories that (a) portrays a problem and then (b) introduces an outsider who not only makes things better but becomes a kind of magic healer. The question is how this agreeable situation will pan out in the long run.
With Drew barely paying attention to the kid-rearing situation, focusing on his job during the day and playing video games at night, pregnant Marlo is exhausted — whipped — by maternal responsibilities. And then the baby arrives and the burden is even more crushing with middle-of-the-night feedings and wailings and whatnot. So Marlo’s rich brother (Mark Duplass) tries to persuade her to accept the gratis services of a night nanny — a younger woman who will drop by in the evening and take care of the baby so that Marlo can get some much-needed shut-eye.
The headline “Trump booed at Davos” got my blood up. Then I watched the clip. At the 22-second mark Trump says, “It wasn’t until I became a politician that I realized how nasty, how mean, how vicious and how fake the press can be…as the cameras start going off in the back.” Then he’s mildly booed for three seconds — 33, 34, 35. But in a chickenshit, half-assed way. If you’re going to boo somebody, do it like a man…”Boooo!” Throw in some hisses and maybe a “bullshit” for good measure.