Day: April 22, 2013

Neil LaBute‘s Some Velvet Morning screened last night at The Tribeca Film Festival, and occasional HE correspondent Clayton Loulan sent along some impressions. “The film was shot over eight days (yes…days) in Brooklyn,” he begins, “and the question on everyone’s mind was will this film erase or mitigate the sins of LaBute’s Lakeview Terrace and The Wicker Man? The short answer is yes but the longer answer likely has to do with how the ending hits you.

Some Velvet Morning star Alice Eve, director-writer Neil LaBute beforre last night’s Tribeca Film Festival showing.

“In a chat with LaBute after the screening, he said he knows what people expect from him and was very conscious in the writing and directing of the film of both playing to expectations and giving people something else entirely. My feeling is that Velvet teeters on the brink of self-parody before pulling back on the wheel and flipping you the bird. You’ll either appreciate that or you won’t.

“It’s the story of the older Fred (Stanley Tucci) and the younger Velvet (Alice Eve), two ex-lovers who spend 83 minutes in conversation throughout what feels like every room of Velvet’s more than spacious apartment. Fred has left his wife and shows up with his bags packed and ready to move in with Velvet and start over. Velvet has moved on and just wants to have lunch with one of her friends. We begin to peel back the layers of their backstory. Battles ensue. Objects are broken. Insults fly. Their motivations shift and each party has equal chance to play the aggressor and the persecuted.

“Some Velvet Morning doesn’t feel as outwardly provocative as In The Company of Men and the scope is smaller, but more precise. This one plays like the scalpel to Men’s sledgehammer.”

In my mind, a major auteur like Wong Kar Wai directing a martial arts film is like Stanley Kubrick directing a 1987 cop-buddy drama starring Jim Belushi. There’s nothing more soul-numbing or soul-draining than the regimentation of a martial-arts film. I was going to title this “Two Wongs Don’t Make A Wight.” I don’t know what I was thinking.

I sometime arrive at these things late (where was I last Thursday?), but the obviously still-raw animus between Ford and Chewy…the “bit,” I mean…is fairly funny.

This obviously suggests that Ethan Hawke and Jule Delpy enjoy some kind of temporary serenity in Before Midnight. Richard Linklater‘s film is far from Who’s Afraid of Virginia Wolff?, but much of the time the marital waters are at the very least choppy. This doesn’t look like Greece (which is where the film takes place) as much as the rocky cliffs adjacent to the Hotel du Cap, which I’ve visited many times during the Cannes Film Festival. 13 years ago I spotted Hawke strolling around the grounds with a young kid, back when he was married to Uma Thurman.

Deadline‘s Pete Hammond is reporting that last February’s Oscar producers Craig Zadan and Neil Meron, who were recently and somewhat arrogantly re-hired by outgoing Academy chief Hawk Koch to produce the 2014 telecast, have offered the host gig once again to Seth McFarlane. With all the flack that McFarlane got from women about “We Saw Your Boobs”?

It’s possible that Mcfarlane won’t be able to take the job, Hammond writes, because he’ll be making a Western comedy called A Million Ways To Die in the West. But it could happen. Why McFarlane again? Because the last show’s ratings were pretty good, particular among younger males. But how do women feel about this? Does this smack of old-boy’s-club cronyism at its most tedious or what?

And by the way, with Zadan and Meron running things again does this mean we’ll have to sit through another Chicago fantasia or some other tribute to one of their films?

Nikki Finke was dead-on when she recently wrote the following on 4.16: “choosing the producers of the Oscars is probably the single most important job of the AMPAS president. And yet Hawk [Koch], serving for only one year and knowing he was a lame duck, broke protocol and today announced the re-hiring of Zadan/Meron for the March 2, 2014 telecast. That should have been his successor’s privilege and responsibility.

“Tom Sherak tried to do the same for the February 24th, 2013, telecast by soliciting Lorne Michaels as Oscars producer and NBC Late Night host Jimmy Fallon as Oscars host. Sherak went to the Academy’s Board Of Governors on his own initiative and said, “If I can find a producer, would you be interested?” The Board said yes. But Koch as 1st vp told colleagues Sherak shouldn’t be doing this within a mere matter of weeks before the new president was elected. Koch even complained directly to Sherak about it. Disney nixed the choice of Fallon — and Koch made his own choices. Now he took that choice away from his successor.”

Coming Soon‘s Ed Douglas, a good and bright fellow whom I’ve known for several years and with whom I’ve roomed during Sundance and co-recorded Hollywood Elsewhere podcasts, is in trouble. He was diagnosed with acute lukemia last week while attending CinemaCon in Las Vegas. Now he’s about to start chemo treatments in a hospital in Columbus, Ohio, which is near his family’s home. He has no insurance and needs help. Here’s a donation page.

I just spoke to Ed in his hospital room. He sounded alert, chipper, spirited. His cell phone is having issues (you can hear him and he can hear you but you can’t easily converse back and forth) but he gave me his hospital room phone #. (Get in touch if you want it — I’m sure he’d like to hear from friends.)

Before we spoke Ed had just received a bone marrow treatment of some kind. The plan, he said, is to go through 28 days of treatment and then go right back on the job. Good attitude! I told him I loved him and that everyone in the journo and industry community is supporting him big-time and that the fund is up to $15 K now and to hang in there. “Wow, that’s crazy,” Douglas said.

When I began talking about this with Sasha Stone this morning, the goal was $10K and the donations were somewhere around $3800 or $3900. Ten or fifteen minutes later the donations were up to $5 K. They kept going up and up. Now the goal is $50K and the donations are around $15 K.

This morning Indiewire‘s Matt Singer posted responses to the latest Criticwire question: “Name the best film of the last 25 years.” Variety‘s Scott Foundas selected There Will Be Blood. The Toronto Star‘s Peter Howell chose In The Mood For Love. And Edwin Arnaudin of Ashvegas chose The Royal Tennenbaums…c’mon!

Choosing the best film of the last quarter century (or anything released since April 1988) is one of those dopey questions. Ridiculous, really. If I had to choose under threat of death I’d probably pick Election or Zodiac or Rushmore. But there’s no perfect answer that you wouldn’t want to change an hour or a day or a week later. Every other time I mention what I do to a stranger at a party they’ll say “what’s your favorite all-time film?” and I’ll always answer the same way: “I can’t think that way. Okay, Dr. Strangelove but it’s….I just don’t like doing this. There’s no single film that sits on top of the mountain.”

I’m willing to list the best 25 films of the last quarter-century and stick to it. That I can do. Actually I’ve just put the list together and it has to be at least 30.

Hollywood Elsewhere’s Top 30 Films Since April 1988: Election, Zodiac, Rushmore, Goodfellas, Groundhog Day, Heat, The Big Lebowski, The Social Network, Children of Men, A Serious Man, There Will Be Blood, The Insider, Memento, Fargo, Traffic, Che, Pulp Fiction, Zero Dark Thirty, Schindler’s List, Moneyball, Being John Malkovich, Silver Linings Playbook, United 93, The Limey, Volver, Se7en, Amour. Women on the Verge of a Nervous Breakdown, Fight Club, The Lives of Others.

HE’s Best Film of the last 25 Years (although I hate doing this): Election.

I learned yesterday that one of the hottest movies playing in competition at the Cannes Film Festival is being research-screened in Pasadena this week. I won’t name the film, and I wouldn’t dream of trying to crash the screening because I don’t sneak around or play games. But even if the producers invited me I wouldn’t go because the you need to see ambitious films with the sharpest people. Movies are like plays — they play better in front of a “good house.”