I haven’t time to review Terrence Malick‘s Voyage of Time: The IMAX Experience, which I saw this morning at IMAX headquarters in Playa Vista, but I can at least say two things: (1) It’s certainly an enveloping eyeful — I felt immersed and half-stoned and floating within the thing, and I loved the fact that it’s only 40-odd minutes; and (2) the aspect ratio information on the IMDB — 1.43:1 mixed with 1.90:1 — is wrong. The version I saw this morning on a super-sized screen was for the most part somewhere between a perfect box and 1.33 (closer to the latter). There was a brief portion (starting around the ten-minute mark and lasting less than five minutes) that was shown at 1.43:1. The boxiness is magnificent. I was sitting in the third row, and the monster screen is so tall and full that I had to look up and down to contemplate the upper and lower portions — there’s no taking it all in from a fixed viewpoint. Definitely worth catching if you can see it at a real IMAX theatre. Off to Miss Sloane…
Bruce Beresford‘s Mr. Church, a low-key Eddie Murphy relationship drama, had its big premiere during last April’s Tribeca Film Festival. It kind of went away during the summer, but then it turned up at Pete Hammond’s KCET screening series on 9.13 before opening on 9.16. On 10.21, or three weeks from this Friday, Mr. Church be on Digital HD and On Demand and then on Bluray/DVD on 10.25. Which seems like a reasonable way to go. I’m only mentioning this because I somehow never saw it. Partly because I didn’t care that much (that 16% Rotten Tomatoes score) and partly because I never received a screening invite. Could that have been because of my nearly decade-old “stop Eddie Murphy” campaign regarding his performance in Dreamgirls? Just asking. I don’t have a problem with Murphy. That was then, this is now.
Hollywood Elsewhere needs to drive all the way the fuck down to IMAX headquarters in Playa Vista (roughly a 40-minute drive) for a 9 am screening of Terrence Malick‘s Voyage of Time. Followed by quickie interviews with a couple of Malick producers. Then it’s back to Beverly Hills for a 1 pm screening of John Madden‘s Miss Sloane (EuropaCorp, 12.9), which I’ve been told is quite good.
Denzel Washington‘s Fences, an adaptation of August Wilson‘s play, will be going mano e mano against 20th Century Women, a family film of a different caste, when they both open on Christmas day. All this time I’ve been hearing about Viola Davis‘s performance, but the trailer is all Denzel. Costarring Jovan Apedo, Stephen Henderson, Mykelti Williamson, Russell Hornsby and Saniyya Sidney.
I never had the impression that my father liked me a great deal either. He loved his advertising job, I was told, but he was sullen around the house. When I was really young he seemed mostly irked or bored by my presence when he wasn’t barking orders or telling me to mow the lawn or sending me to my room for some infraction. When I got into my teens and started mouthing off he became testy and at times hostile. He often took refuge in reading, TV shows and alcohol.
But he provided the shelter, clothing and food, and he always paid the bills. And then we became friendly when he went into AA.
I was resigned to catching Mike Mills‘ 20th Century Women at the end of next week at the New York Film Festival, which I’ll be attending between 10.7 and 10.15. But now there’s a trailer out and and a local look-see happening this week. The Santa Barbara-based period dramedy (set in 1979) stars Annette Bening, Elle Fanning, Greta Gerwig, Lucas Jade Zumann and Billy Crudup. A24 will open it on 12.25.
It’s telling that NBCUniversal CEO Steve Burke has put out a statement praising Lester Holt’s moderating of last night’s Clinton-Trump debate. He obviously did so because Holt wimped. Throughout most of the debate Donald Trump ignored or brushed him aside. Okay, Holt pressed Trump on a couple of points later in the debate, but barely spoke up for the most part. Seemingly afraid of projecting bias against a compulsive liar, Holt over-compensated by letting Trump run roughshod. Varietyacknowledged in the Burke story that “some commentators criticized as being at times too passive.”