Last Thursday (11.12) I expressed a certain confusion over the new Carol one-sheet, which, I wrote, “seems to be aimed at potential viewers with conservative hinterland values,” as the photo suggests that Cate Blanchett “has a thing for Rooney Mara but that slightly out-of-focus Rooney isn’t noticing or isn’t that interested or something along those lines.” The cover art for Carter Burwell’s Carol soundtrack is another matter. If I was in charge of choosing the main movie poster, this is what I’d go with.
Two significant Love & Mercy plugs have happened over the last 24. One, today’s announcement about Santa Barbara Film Festival honcho Roger Durling having selected Love & Mercy‘s Elizabeth Banks and Paul Dano as Virtuoso award recipients (i.e., supporting-level award contenders) at next February’s Santa Barbara Film Festival (2.3 thru 2.13). And two, Youth costar Jane Fonda — herself a Best Supporting Actress contender — offered a big Dano plug at the start of yesterday’s Youth press conference at the Four Seasons hotel. Fonda: “Oh my God. I live with a music producer [Richard Perry] and so I know about Brian Wilson and the fact that he’s a genius, and so I wanted to see the movie. And [Paul], as the younger Brian Wilson, I just found astonishing. Really special. I liked the movie too. Elizabeth Banks and John Cusack…all of them. Such a good film.” Again, the mp3.
At the recent Love & Mercy Brian Wilson concert at Vibrato: (l. to r.) Melinda Ledbetter, Paul Dano, Brian Wilson, Elizabeth Banks.
I know a little something about the trials of a rock band (having been a mediocre drummer in my early 20s in a not-half-bad blues rock group called the Sludge Brothers) and the difficulties of creating a sound that works and recording it the right way and getting the right gigs, etc. And yet Martin Scorsese and Mick Jagger‘s Vinyl, to go by this trailer and previous teasers, seems uninterested in the brick-and-mortar stuff. It looks like just another bacchanalian coke-and-booze Satyricon thing. Self-destruction (or dangerously flirting with same) by way of drugs and booze is not interesting. Almost Famous was 15 years ago — it would be great if Vinyl was more like it. You know…a longform about the music business of the late ’60s and ’70s that takes a Spotlight approach — one that shows you how it really works in a survivalist, real-world sense (songs, recordings, relationships, beautiful women, wild adventures, creative clear-light moments, finding and keeping the right manager…the general uphill struggle of it all). You know what would be really great? A longform about the creative-transcendence boom years of ’64, ’65, ’66 and ’67. It was all over by late ’68 anyway. There’s nothing more boring in the universe of narrative film than getting fucking wasted.
Alejandro G. Inarritu‘s The Revenant (20th Century Fox, 12.25) will be screened this weekend for the Hollywood Foreign Press Association, and soon after for the rest of us. The embargo-lift review date is December 2nd. 12.25 is the platform date; the wide release begins January 8th. Oh, and David O. Russell‘s Joy (20th Century Fox, 12.25) will begin screening after Thanksgiving, perhaps as soon as 11.27 but more likely on 11.30. Russell has been fiddling and re-fiddling with it right to the end. (A Joy cast member confided as much during last weekend’s Carol brunch.) One way or another Joy and The Revenant will be late arrivals as far as SAG members-getting-their-DVD-screeners are concerned. Oh, and Quentin Tarantino‘s The Hateful Eight (the 70mm, three-hour version with an intermission) screened recently at the Linwood Dunn, and a friend who attended was appreciative but measured in his response. It is an Agatha Christie thing for a good portion, he said. He expressed an interest in seeing the ten-minute-shorter wide-release version, which he believes will be shown without an intermission.
“An Open Letter from Charlie Sheen and Statement from his Physician,” received an hour ago from Scoop Marketing’s Larry Solters:
Sheen: “Roughly four years ago, I suddenly found myself in the throws of a seismic and debilitating three-day cluster-migraine like headache. I was emergently hospitalized with what I believed to be a brain tumor or perhaps some unknown pathology. I was partially correct. Following a battery of endless tests, that included a hideous spinal tap, it was sadly and shockingly revealed to me that I was, in fact, positive for HIV.
“The news was a ‘mule kick’ to my soul. Those impossible words I absorbed and then tried to convince myself, that I was stuck, suspended, or even stranded inside some kind of alternate reality or nightmare, were to the absolute contrary. I was awake. It was true. Reality.
“Under the brilliant and perfect care of Dr. Robert Huizenga as well as ‘the’ leading infectious disease expert in the known universe, I began a rigorous and intensive treatment program. Not missing a beat, a med dose, or one shred of guidance, quickly my viral loads became undetectable. Like every other challenge in my life, again, I was victorious and kicking this disease’s ass. I wish my story had ended there. Unfortunately, for my family and myself, it had only just begun.
Deadline‘s Pete Hammond knows that The Revenant is going to be a wham-bammer and an all-but-certain Best Picture contender, and he acknowledges that Leonardo DiCaprio is “due” so pay very little attention to his “I haven’t seen his performance so I’m not saying anything” line. He knows DiCaprio is all but in, and he knows Michael Fassbender‘s Steve Jobs performance is on the ropes and probably plummeting as we speak, and he knows Tom Hanks‘ “subtle” performance in Bridge of Spies is a totally generic, bonded and branded “Tom Hanks performance” (i.e., Mr. Saturday Evening Post) and relatively weak tea…not even remotely close to Gregory Peck‘s performance in To Kill A Mockingbird. Hammond knows all this. He also knows that Jay Roach‘s Trumbo is not really “a great movie,” as he calls it…he knows that. (Trumbo is, however, a good film.) Hammond and Gold Derby‘s Tom O’Neil acknowledge that Michael Caine‘s Youth campaign is all about the gold-watch factor, and Hammond says Concussion‘s Will Smith is “definitely” in the game…we’ll see about that. All this aside, hooray for Mr. Holmes‘ Ian McKellen — a brilliant thesp and one of the most gracious guys I’ve ever known.
Remember the good old days (i.e., two years ago) when Criterion would create its own uniquely designed covers for Bluray/DVDs of classic films? Compare their 2014 On The Waterfront cover art to the jacket cover for their upcoming Bluray of Mike Nichols‘ The Graduate, which will pop on 2.23.16. I don’t think I need to point anything out here. Okay, I’ll point something out. Criterion has gone totally generic here. Teenage movie buffs in Pakistan and Manchuria are bored to death by this crusty, age-old shot of a barefooted Dustin Hoffman regarding Anne Bancroft‘s stockinged calf, but Criterion used it anyway.
The Graduate Bluray is worth the purchase price, however, because it contains one of the finest, most richly observed analytical commentary tracks about a classic film ever recorded. I’m referring to UCLA film professor Howard Suber‘s observations about The Graduate, which were included on Criterion’s original 1987 Graduate laser disc. Suber’s commentary was briefly available on a YouTube posting a year ago but was taken down for some reason, but it’ll be fully and legally available on the new Bluray — the first time in a new format in 28 years.
Carol star Cate Blanchett, Best Adapted Screenplay Oscar contender Phyllis Nagy during yesterday’s Carol brunch at West Hollywood’s London hotel. If you ask me Blanchett’s sunglasses (smokey gray with caramel frames) are award-worthy in and of themselves.
Beasts of No Nation director-cinematographer Cary Fukunaga, creator of one of the most poetic and visually dazzling films of the year hands down, during yesterday afternoon’s gathering for the Netflix release at Beverly Wilshire Hotel.
The always smooth and gracious Ian McKellen during backyard gathering at British Consulate for Bill Condo’s Mr. Holmes. Perfect Sherlock in the film, and reportedly spot-on in Tom Courteney’s role in The Dresser.
How drop-dead clueless do you have to be to announce an intention to remake Christopher Nolan‘s 15-year-old Memento, a classic that hasn’t aged a day, that every movie buff knows backwards and forwards, that anyone can stream any time they like? Variety‘s Dave McNary is reporting that AMBI Pictures will remake it nonetheless. Even more forehead-smacking is the following statement from AMBI co-honcho Andrea Iervolino: “Memento has been consistently ranked as one of the best films of its decade. People who’ve seen Memento ten times still feel they need to see it one more time. This is a quality that we feel really supports and justifies a remake.”
With the National Enquirer running a legit cover story about Charlie Sheen‘s HIV positive status and a Today show press release announcing that Sheen will make a “revealing personal announcement” Tuesday morning in an interview with Matt Lauer, it’s finally okay to broach the subject. Everyone had heard about Sheen being the rumored big celeb who had allegedly contracted the virus but you don’t want to throw that shit around, especially concerning a matter as grave as this. Not that Sheen is looking at a final chapter of any kind. One presumes he’ll Magic Johnsoning for a long time to come.
I heard a couple of days ago that John Lee Hancock‘s The Founder (Weinstein Co. 11.25.16) will have its first research screening this evening in Manhattan — 374 days ahead of its release. Then I ran into Keaton at last night’s Spotlight/Spaghettini party and asked him about it. He said he knew about the screening (“Back east, right?) but hasn’t seen it yet…and then he ducked away. Pic tells the story of Ray Kroc (Michael Keaton) and the birth of McDonald’s empire, and you know it’ll be part of next year’s Oscar conversation if Harvey has anything to say about it. The Founder will presumably focus on Kroc’s marginally unscrupulous dealings with original McDonald’s founders Mac and Dick McDonald, not so much when he persuaded them to franchise McDonald’s nationally in 1954 as when he bought them out in ’61 for a relatively modest sum of $2.7 million. But I guess you can’t blame Kroc if the McDonald brothers weren’t smart enough to demand a better deal. Costars include Laura Dern (as Kroc’s wife Ethel Fleming), Nick Offerman, John Carroll Lynch, Patrick Wilson, Ric Reitz and Wilbur Fitzgerald.
The physical appearance of Pulitzer Prize-winning food critic Jonathan Gold doesn’t just mitigate an interest in gourmet-level delicacies. It makes you think about eating less food, period, and doubling down on the cockatoo (i.e., fruit and salads). I think most food critics understand this, and that’s why guys like Anthony Bourdain are cool and Gold, no offense, is not. In my book, at least.
