In a 6.3 review, Daily Mail critic Christopher Tookey has taken a dump on Marc Forster and Brad Pitt‘s World War Z (Paramount, 6.21). And so has the Telegraph‘s Robbie Collin. In fact they’re both using the “World War Zzzzz” line so U.S. critics need to come up with something else.
I’m persuaded that Sharon Waxman‘s “Nikki Finke has been fired by Jay Penske” story is untrue, or at least misleading. Finke may be leaving Deadline to run a one-woman website again, but that’s within the limits of her contract. The elements (temper, saber-rattlings, internal squabbles) may be true, but you have to take all family arguments with a grain of salt. What appears to be true is not always the truth even if it seems like it is.
Penske knew when he partnered with Finke that volatile Type-A personalities require constant backrubs and reassurance, and that on a certain level he had to be a 24/7 care-giver. Did Penske boil over and maybe convey anger or frustration to this or that person? Apparently, but that’s not the finality. Or so I gather.
10 varied films by and about African-Americans (and one directed by a Brit) are coming out between August…actually, make that July and December, a N.Y. Times story is reporting. And many of them are angled at quality-seekers who wouldn’t watch a Tyler Perry flick with a knife at their backs. Michael Cieply has posted a laundry-list story [URL: http://www.nytimes.com/2013/ 06/02/movies/coming-soon-a-breakout-for-black-filmmakers.html?hp] that calls this slate a significant turn in the road, but he doesn’t indicate which are the pick of the litter and which are the black sheep.
It’s the kind of laundry-list story I can’t stand, Lawrence…the kind that just lies there. But I have to acknowledge, of course, this being a Cieply story, that it’s accurate and well-sourced and that things do seem to be blooming and upticking for black filmmakers. A rennaisance of sorts. The mining of richer, broader material.
Post-Cannes, here are my Best Picture predictions as things now stand…and what do I know? David O. Russell‘s American Hustle is still #1 because the script is sharp and tight and because smilin’ Russell is an effing machine gun — he’s on his game and due and everyone knows it. #2 is J.C. Chandor‘s All Is Lost — one of the most audacious, aesthetically ballsy survivalist dramas ever made, and with a major comeback, career-high performance from Robert Redford. And #3 is Joel and Ethan Coen‘s Inside Llewyn Davis, a major American piece-of-time folkie art film that will stand the test, and which you’ll want to see a second time. That was my first thought, at least.
Martin Scorsese‘s The Wolf of Wall Street is #4 because…I don’t know exactly as I haven’t read the script, but I know that people have been slip-sliding into an “okay, all right, what else can you show us?” attitude about the Scorsese-DiCaprio partnership. Richard Linklater‘s Before Midnight has to be a Best Picture contender…it has to be. (What’s the argument against it? That it’s too good, too real, too well-written and well-acted?) And then comes John Lee Hancock‘s Saving Mr. Banks (Kelly Marcel‘s script is quite good), Paul Greengrass‘s Captain Phillips, George Clooney‘s Monuments Men and Bennett Miller‘s Foxcatcher.
I’m not enough of a fan of Alexander Payne‘s Nebraska to predict a Best Picture nomination, but on the other hand I’m not opposed to the idea. And let’s not forget Ryan Coogler‘s Fruitvale Station, which has the heat and could vault ahead of Hancock-Scorsese-Clooney-Greengrass.
I would normally complain about the cropping of 1.33 16mm color footage down to 1.50 or thereabouts (or is it 1.66?) but I’ll let it slide this time. Just think of all that Brylcream on each and every guy’s head (except for the baldies) and each and every head covered and half-suffocating under a hat. Think of all the millions who were laughing and struggling and eating steamed potatoes and peach ice cream when this film was shot, and who would be shot, starved, bombed or incinerated to death over the next six years. And if you wanted to get away from it all, all you had to do was pay 25 cents to see Only Angels Have Wings…”who’s Joe?”
On Tuesday, 6.4, a Bluray of a director’s cut of Peter Bogdanovich‘s At Long Last Love (’75) will be released. From the Wiki page: “The film opened in March 1975 to scathing reviews and poor box office returns, prompting Bogdanovich to have an open letter of apology printed in newspapers throughout the U.S. Bogdanovich has since stated he regretted that ALLL was hastily cut prior to theatrical release based on reactions to studio previews.
“PB subsequently recut the film himself for cable TV, and has stated many people who first saw it in this version did not react so badly [as others did] to the [theatrically released version].
“It came to light in 2012 that a studio employee had secretly kept a more complete version of the film in the vaults for many years, and when Netflix decided to make it available to stream, this is the version that was shown. This version came to the director’s attention as a result of Netflix streaming and running on Fox Movie Channel, and, with Bogdanovich’s cooperation, [it was] decided to release At Long Last Love (with some added refinements from the director) on disc in 2013.”
HighDefDiscNews reports that “tech specs for the release include full 1080p Hihgh-def video in the 1.66:1 aspect ratio and DTS-HD 1.0 Mono Master Audio sound.” 1.66…yes! Here’s the URL: http://www.highdefdiscnews.com/1975-film-at-long-last-love-with-burt-reynolds-comes-to-blu-ray-june/
Speakeasy‘s Christoper John Farley saw Woody Allen‘s Blue Jasmine (Sony Classics, 7.26) last night, and he’s reporting that Cate Blanchett is more or less playing Ruth Madoff (or…you know, a Ruth Madoff-y character) and that her performance “will likely generate early Oscar buzz.” And that Alec Baldwin (also strong) is the Bernie-like figure, doing time for crooked financial shenanigans and leaving Blanchett to deal with the economic & emotional backwash. Pic also stars Bobby Cannavale, Louis C.K., Andrew Dice Clay, Sally Hawkins and Peter Sarsgaard.
It’s fitting that this review appears on rogerebert.com. Remember (and I don’t mean any disrespect) that every now and then Roger could be very friendly to films that most of the movie-reviewing community hated. The tradition of the smart, insightful reviewer with a kind or compassionate streak didn’t begin with F.X. Feeney, but he’s probably the most respected practitioner of this kind of thing. Now he has an ally in Matt Zoller Seitz. Nothing wrong with that.
The best review-compilation books contain riffs and thoughts that take you back to when this or that film was fresh out of the bakery. Review after review, film after film, they make you want to go there again. Tell me these portions of Peter Rainer‘s review of Being John Malkovich, cribbed from the currently-on-sale Rainer on Film (URL: http://www.hollywood-elsewhere.com/2013/05/mr-cranky-with-class-insight-feeling/), don’t nudge you in this direction. Ditto a subsequent riff from Rainer’s review of Fight Club.
Shawn Levy‘s The Internship, the much-derided Vince Vaughn-Owen Wilson comedy about 40ish Google interns, is sneaking tonight nationwide at 7 pm. Will those HE readers without a confirmed hate agenda please attend and report back after the screening? Thank you. I’ll run whatever comes in, of course, but a voice has been telling me all along that this film half-works, at the very least. And maybe better than that. The online derision has been based on next to nothing. Fox wouldn’t be sneaking it if they didn’t know for sure that it plays well.
I’m bringing nothing original to the table from Switzerland but let’s review the basics. After Earth‘s Rotten Tomatoes verdict is the pits — it’s the new Battlefield Earth. And so far the public appears underwhelmed with the M. Night Shyamalan-directed sci-fi adventure expected to reach the mid $20s by Sunday night, which Deadline‘s Nikki Finke is calling a shortfall given expectations of a mid 30s-to-low 40s haul. So basically it’s a tank and a major embarassment and very possibly the end of (or certainly a roadblock to) Jaden Smith‘s big-screen career.
I don’t think ticket-buyers are hip or curious enough to smell the Scientology metaphor, which Vulture‘s Matt Patches has recently pointed out (“After Earth Is Will Smith’s Love Letter to Scientology” — URL: http://www.vulture.com/2013/05/after-earth-will-smith-love-letter-to-scientology.html). I think the rejection of After Earth is more fundamental than that. Audiences resented the idea of shelling out to see an unproven and not-all-that-charismatic or even talented teenage kid just because he’s Will Smith‘s sire.
So that’s an unfortunate fail for the Hotel Schuetzen Lauterbrunnen (URL: http://www.hotelschuetzen.com/en/) because of their totally shitty, verging-on-nonexistent wifi. They’re fine, I’m fine, it’s nobody fault and I’m checking my ass out this morning and heading back to Berne for the night. All I know is that a cafe right next door to the Hotel Schuetzen Lauterbrunnen has absolutely drop-dead, world-class, lightning-fast wifi. They get it and Schutzenites don’t.
Most of the good people who stay in this place are retirees who wear sandals with brown socks. These people are not part of the dynamic 2013 world and are therefore content to reside in a a wifi black hole. Fine for them — not so good for a fellow like myself. No biggie. I just don’t have time for this crap. And Berne is a very spirited town.