The jacket for Kino’s Run Silent, Run Deep Bluray promises a 1.85:1 aspect ratio — it’s actually 1.66:1. The Juggernaut Bluray jacket says 1.66:1 — it’s actually 1.85:1, which in my book is incorrect. The Elmer Gantry Bluray says 1.66:1 and — surprise! — actually delivers that aspect ratio. Ditto the Short Eyes Bluray — 1.85:1 on the jacket and on the disc itself.
Sure enough, first-rate sound really made a difference when I caught my second viewing of Michael Roskam‘s The Drop. It really does enhance things when you can hear all the dialogue and not just 60% or 70% worth, which is what happened at Toronto’s Princess of Wales theatre. Every scene, every line, every plot point fits right in. It deserves more than to be called “one of those low-key neighborhood personality soup bowls,” which is how I put it earlier. Tom Hardy is truly stellar as Bob Saginowski, the bartender with a lot more constitution and perception than people give him credit for. Maybe The Drop is one of those films you have to see twice to really appreciate or maybe I was too shagged and fagged to appreciate it in Toronto or maybe it was just the sound. I saw it last night at The Grove. There were about 12 people in the theatre. I understand that Monday is always a slow night but still…
The word around the campfire is that the NYFF surprise screening will be Noah Baumbach‘s While We’re Young, which many of us saw and admired in Toronto. But you know what would really be cool? A screening of Baumbach’s other new film, the Greta Gerwig-starrer that has never had a title other than Untitled Public School Project. I don’t know anything but if it turns out to be Young…well, okay. Sloppy seconds after Toronto but a dry, highly engaged New York social comedy. It ends with a scene at Lincoln Center so the math is in its favor.
Here’s the only color photo of John Hurt in his “John” Merrick makeup on the set of David Lynch‘s The Elephant Man. Pic was taken in 1979 by make-up designer Christopher Tucker. The Paramount film (produced by Mel Brooks!) opened in October 1980. Why haven’t I re-watched it since? Because I was hugely irritated by the sadistic carnival worker (Freddy Jones) who treats Merrick like an animal, and to whom Merrick is strangely (i.e., nonsensically) attached. But I loved the widescreen black-and-white photography by Freddie Francis (Room At The Top, The French Lieutenant’s Woman). I’m therefore thinking about purchasing the Bluray.
“At some point you will say to yourself or someone THIS LOOKS AMAZING IN BLACK AND WHITE,” writes Steven Soderbergh. “And it’s because [of] Douglas Slocombe (The Lavender Hill Mob, The Servant) whose stark, high-contrast lighting style was eye-popping regardless of medium.” I’ve only just begun watching it, but any and all Soderbergh fiddle-faddles have my attention from the get-go. I can say for certain that getting rid of John Williams‘ whorey score helps a great deal. Okay, not whorey but rote, defaulty — Williams has been writing the same kind of music for Spielberg for over 35 years — he’s an organ grinder. Here’s an appreciation of the Soderbergh version from Grantland‘s Bryan Curtis. Update: The Vimeo coding won’t allow the film to be viewed here so watch it on Sodey’s site.
Barf all over this boy’s fantasy. Everything that has become lazy, rancid and poisonous about escapist adventure thrillers, contained in one obviously loathsome throwaway film that is awash in contempt for its audience. Note: The IMDB says The Kingsman will play the Sundance Film Festival on 1.27.15.
From Sam Fragoso‘s Sundance review: “Directed by A.J. Edwards, The Better Angels (Amplify, 11.7) dives headfirst into the formative years of a 12-year-old Abraham Lincoln (Braydon Denney). Set in Indiana circa 1817 where little Lincoln –observant and taciturn — aimlessly wanders in the woods, chopping wood, spending the bulk of his time listening to the sage words of his father (Jason Clarke) and mother (Brit Marling). The film represents this as a simpler time when a family could live in a log cabin and spend their days endlessly exploring the beauty of nature.
“Produced by Terrence Malick and clearly inspired by Days of Heaven and The Tree of Life, the black-and-white tale roves from one sequence to the next with an ethereal, meditative quality. If Edwards’ directorial debut is any indication, Lincoln’s abusive patriarch and supportive matriarch played an instrumental role in shaping the man would become one of this nation’s greatest leaders.
Last weekend I was told about a sequence in Liv Corfixen‘s My Life Directed By Nicholas Winding Refn, a Hearts of Darkness-like doc about the making of Refn’s Only God Forgives, in which Refn reads a portion of my Cannes Film Festival pan of Only God Forgives. Here it is. Corfixen offers an honest look at a good filmmaker going through the usual doubt and pain; she’s just as candid in portraying a healthy but less-than-ideal marriage. Honestly? I don’t regret writing that pan in the least but I now feel badly about having possibly hurt Refn’s feelings. Even with Corfixen saying to him after he reads the review, “You brought it upon yourself.” (Or words to that effect.) Then again Refn seems mildly amused as he reads the review. Provoking strong reactions is better than causing people to shrug their shoulders or nod out…right?
In a N.Y. Times profile of the trauma-plagued Warner Bros. team, Michael Cieply and Brooks Barnes describe Paul Thomas Anderson‘s Inherent Vice, a WB release that will debut on 10.4 at the New York Film Festival, as “quirky,” “semi-comic” and “a possible Oscar candidate.” That last description argues with everything I’ve heard about the film since last April but whatever…fine.
A series of faux-classic, faux-iconic John Malkovich portraits by Sandro Miller is currently on view at imgur.com. Malkovich’s “Cyrus the Virus” in Con Air is one of my all-time favorite villains. Which is not to be confused with my favorite generic “Malkies” such as Being John Malkovich, Burn After Reading and his “Biff” in the B’way stage version of Death of a Salesman. During a round-table session at the Marrakech Film Festival I tweaked Malkovich about his paycheck roles, and I could tell this touched a slight nerve. A 2003 Telegraph piece contained a quote from a fellow actor that said Malkovich “is so right-wing, you have to wonder if he’s kidding.”
Paramount and MGM’s Christian-friendly remake of Ben-Hur, now in pre-production, is reportedly slated for a 2.26.16 opening. Think about that for four or five seconds. Unveiling a new version of the biggest and most Oscar-honored Biblical epic of all time in late February confirms that this Mark Burnett and Roma Downey production, a downmarket pitch to none-too-sharp Christians, is a metaphor for the general degradation of film culture. Deciding on a February release is an obvious admission that the film won’t be good enough to compete in the summer or post-Labor Day award season. The producers might as well take out a trade ad that says “we’re going low-rent here, guys….forget the upscale, blue-chip William Wyler signature of yore…we’ve hired a low-class Russian ape named Timur Bekmambetov (Wanted, Abraham Lincoln — Vampire Hunter) to re-shape this tale so it will simultaneously have lots of gratuitous action while appealing to hinterland dimwits.” Consider the guys who’ve been hired to play Judah Ben-Hur and Messala — Jack Huston and Toby Kebbell. Compare their faces and auras to Charlton Heston‘s and Stephen Boyd‘s…sad. Huston was okay in American Hustle but he has small Twee-male shoulders and the face of a blackjack dealer in Atlantic City. Kebbell (Koba in Dawn of the Planet of the Apes) appears doomed to play bad guys for the rest of his life. I’m sure that the chariot race will be CG-fortified but the cool aspect of the ’59 version is that it was shot raw and real. Ben-Hur for Christians is going to look so substandard compared to the ’59 version it won’t be funny.
I was under the impression that David Fincher‘s Gone Girl, which will open the New York Film Festival on Friday evening, had been pre-screened only for the trades (Variety, Hollywood Reporter, TheWrap, Indiewire) for early review. A quick glance at Rotten Tomatoes says otherwise. New York/Vulture‘s David Edelstein has seen it and posted a review (“Elegantly wicked, phenomenally gripping…a world of masks, misrepresentations, subtle and vast distortions”). Time Out‘s Joshua Rothkopf has seen it and reviewed (“The kind of wickedly confident Hollywood thriller you pray to see once in a decade…the stealthiest comedy since American Psycho…a hypnotically perverse film that redeems your faith in studio smarts”). Entertainment Weekly‘s Chris Nashawaty has seen and reviewed. All the big British critics and have seen it and reviewed. Is there anyone who hasn’t seen it except yours truly? I’m sorry but this drains the excitement out of the NYFF debut. I was under an early impression that the NYFF press screening on Friday afternoon would be the cool place to be. Now it’s looking like a last licks clean-up screening — a venue for second-tier journos who weren’t cool enough to be included in the first round.
