A pre-screening conversation at the Tribeca Screening Room last night, two or three minutes before The King’s Speech began, was about a review that called Mark Romanek‘s Never Let Me Go (Fox Searchlight, 9.15) a “masterpiece.” He’s wrong, one guy said. It’s one of those films for which the phrase “very well done for what it is” was invented, said another. It very gently suffocates. “Really sensitive, delicate, anguished and very carefully made,” I replied. “But it’s morose, and that plus the passivity and resignation doesn’t work.”

The TIFF volunteers are their usual alert, gracious and ever-helpful selves. It’s good to be here. It’s nice to arrive someplace new and just slip right in without breaking stride.


This is the year that the Bell Lightbox opens, and when is it actually opening? Not Thursday, 9.9 (or opening night), not Friday, 9.10 and not Saturday, 9.11, but Sunday, 9.12 — three and a half days into a ten-day festival. On a scale of 1 to10, how pretentious is that?
Update: Arrived in Toronto at 1:15 pm. Welcomely cooler here than Manhattan. Before: I saw Never Let Me Go and The King’s Speech back-to-back last night. Now there’s no Friday morning press-screening conflict and I’m free and clear to see Black Swan. I ‘m leaving now for Newark and my Toronto flight. (I’m actually past my departure hour.) No more filings until the late afternoon.

Forget the silliness and consider all that beautiful headroom above R. Lee Ermey and Matthew Modine‘s heads. This is the 1.37:1 Full Metal Jacket I know and love and wish I owned on Bluray.
Obama has screwed himself with caution and timidity (he didn’t go far enough with stimulus funding) and allowing the uglies to lead the conversation, but boil the current catastrophes down to basics and it all tracks back to Bush-era excesses and abuses.
So how are Average Joes going to vote in the mid-terms? Simple — they’re going to vote for a Republican majority in Congress, and thereby block any chance of Obama pushing anything through legislatively. They’re going to give more power to those who caused all the problems in the first place (i.e., righties committed to exploiting stupidity and serving the corporations + Tea Party nutters). That’ll fix things, right?

“Not happening…way too laid back…zero narrative urgency,” I was muttering from the get-go. Basically the sixth episode of White Lotus Thai SERIOUSLY disappoints. Puttering around, way too slow. Things inch along but it’s all “woozy guilty lying aftermath to the big party night” stuff. Glacial pace…waiting, waiting. I was told...
I finally saw Walter Salles' I'm Still Here two days ago in Ojai. It's obviously an absorbing, very well-crafted, fact-based poltical drama, and yes, Fernanda Torres carries the whole thing on her shoulders. Superb actress. Fully deserving of her Best Actress nomination. But as good as it basically is...
After three-plus-years of delay and fiddling around, Bernard McMahon's Becoming Led Zeppelin, an obsequious 2021 doc about the early glory days of arguably the greatest metal-rock band of all time, is opening in IMAX today in roughly 200 theaters. Sony Pictures Classics is distributing. All I can say is, it...
To my great surprise and delight, Christy Hall's Daddio, which I was remiss in not seeing during last year's Telluride Film Festival, is a truly first-rate two-hander -- a pure-dialogue, character-revealing, heart-to-heart talkfest that knows what it's doing and ends sublimely. Yes, it all happens inside a Yellow Cab on...
7:45 pm: Okay, the initial light-hearted section (repartee, wedding, hospital, afterlife Joey Pants, healthy diet) was enjoyable, but Jesus, when and how did Martin Lawrence become Oliver Hardy? He’s funny in that bug-eyed, space-cadet way… 7:55 pm: And now it’s all cartel bad guys, ice-cold vibes, hard bullets, bad business,...

The Kamala surge is, I believe, mainly about two things — (a) people feeling lit up or joyful about being...
Unless Part Two of Kevin Costner's Horizon (Warner Bros., 8.16) somehow improves upon the sluggish initial installment and delivers something...
For me, A Dangerous Method (2011) is David Cronenberg's tastiest and wickedest film -- intense, sexually upfront and occasionally arousing...