HE’s own Lisa Taback, generally regarded as one of the sharpest, shrewdest and best-connected award-season publicists and campaign strategists around, will become Netflix’s in-house campaigner as of 8.1. In other words she’s going to more or less orchestrate the awards-campaign for Netflix and Alfonso Cuaron‘s Roma, which will almost certainly be Best Picture-nominated. The following year Taback will presumably do the same for Martin Scorsese‘s The Irishman.

Netflix is obviously proud and cranked about Roma and The Irishman. The Taback deal means they’ll be going great guns on both in terms of award-season campaigning. A Best Picture Oscar will bestow an aura of class — an image upgrade like nothing else. Netlix is all in, money on the table, this is it.

The Hollywood Reporter‘s Scott Feinberg reported the Taback news earlier today.

Does this mean that Taback and her staff will be 100% exclusive to Netflix, or is there a little wiggle room? Taback has been working for First Man director-writer Damien Chazelle, for instance. The last paragraph in Feinberg’s story addresses this angle: “Under the terms of her Netflix deal, Taback, who declined to comment, will continue to consult with a limited number of her existing clients through the end of the current Emmy season and possibly through the end of the coming Oscar season, as well.”

While sitting for an interview with The Independent‘s James Mottram, Belgian actor Matthias Schoenaerts apparently said that Terrence Malick‘s Radegund, a German-language antiwar drama in which he costars, “is likely to premiere at Venice and/or Toronto during the autumn.” Or so Mottram has written.

I’ve heard differently. I was told a few weeks ago that Radegund probably won’t pop at the early fall festivals and will continue to hide out until the February 2019 Berlinale, if that. Malick has always taken his sweet-ass time in post. Roughly two years per film and sometimes longer — Tree of Life, To The Wonder, Knight of Cups, Song to Song. I actually wouldn’t be surprised if Radegund turns up closer to next year’s Cannes Film Festival or even, don’t laugh, during Venice/Telluride/Toronto of ’19.

But if Schoenaerts is correct and Radegund winds up playing Venice, Telluride or Toronto this year (i.e., eight to ten weeks hence), terrific. Having a film ready to show less than two years after finishing principal photography is a very un-Malick-like thing, but who knows?

There’s no reliable timetable when it comes to Mr. Wackadoodle. He likes to shuffle and re-shuffle and think things through, and then re-shuffle and re-shuffle and then toss the lettuce leaves into the air as he twirls three times while chanting, adding lemon and olive oil and re-shuffling all over again, and then going outside and re-thinking it all during long walks around dusk.

Besides Schoenaerts Radegund costars August Diehl in the lead role as an Austrian who ran afoul of German authorities during WWII when he refused military service over ethical/religious beliefs. Costars include Valerie Pachner, Michael Nyqvist (who died in June ’17, roughly ten months after giving his performance), Jurgen Prochnow and Bruno Ganz.

Alfonso Cuaron‘s Roma, a likely Best Picture contender despite Spanish-language dialogue, has been announced as a centerpiece showing (10.5) at the forthcoming New York Film Festival. But it’s not a world premiere nor an exclusive North American booking. The NYFF release says it’s just a “New York” premiere, so Roma will most likely be seen first at the Venice Film Festival. Then it could (probably will) play Telluride and Toronto before hitting Kent Jones‘ Upper West Side of Manhattan festival. All is good and tingly.

“I was absolutely stunned by Roma from beginning to end,” Jones said in a statement. “By the craftsmanship and the artistry of everyone involved, by the physical power and gravitational force of the images, by the realization that I was seeing something magical: a story of ongoing life grounded within the immensity and mystery of just being here on this planet. Alfonso Cuarón’s film is a wonder.”

I slumbered into a press screening of Antoine Fuqua and Denzel Washington‘s The Equalizer 2, ready to sulk and fearing the worst. I had found the original Equalizer a rotely bludgeoning, less-than-plausible thing that was below the level of Tony Scott‘s Man on Fire, the greatest Denzel-kills-bad-guys flick of all time. With the same screenwriter (i.e., Richard Wenk) on board for EQ2, I figured, what hope could there be of any improvement?

Well, guess what? The Equalizer 2 isn’t Man on Fire-level either, but it’s much, much better than Fuqua’s 2014 original. Yes, it’s a formulaic whoop-ass fantasy and, yes, with a few plot holes and plausibility issues, but this time I went with it. I actually felt satisfied and marginally impressed. Because EQ2 takes its time and focuses on character, basic values and careful step-by-step plotting before delivering the climactic violent payback stuff. As a result I felt more invested in Denzel’s Robert McCall, a former CIA black-ops assassin who’s now living in Boston and working as a Lyft driver. This time I said to myself, “I like this guy a little more, and I like that Fuqua has actually made a better-than-half-decent programmer for a change.”

As I walked out I was telling myself that The Equalizer 2 might be Fuqua’s best movie since Training Day (’01), but then I thought of Brooklyn’s Finest (’09), a dirty-cop drama that was relatively satisfying. There’s no question that EQ2 is heads and shoulders above Fuqua’s last four films — The Magnificent Seven (undisciplined western shoot-em-up), Southpaw (ham-fisted), the first Equalizer and Olympus Has Fallen (terrorist-attack garbage).

Pay no attention to those crappy Rotten Tomatoes and Metacritic scores. The critics who are dismissing EQ2 are being way too harsh and fickle. If you’re at peace with the premise (i.e., Denzel bringing pain to bad guys) you won’t feel burned. This is a mostly satisfying actioner that actually cares about the quiet spaces between the shoot-outs and beat-downs, and it has a world-class finale — a stalking and ducking face-off between Denzel and four bad guys in the midst of a torrential hurricane.

I loved the fact that except for the opening action sequence (a de riguer thing these days), the first 20 or 25 minutes of EQ2 are about Denzel Lyft-ing people around Boston and getting to know or assist them in quiet little offbeat ways. I admired the fact that Fuqua invests in a subplot dynamic between Denzel and 22 year-old Ashton Sanders (Moonlight), one that involves values, personal integrity and good parenting.

Mission: Impossible — Fallout director Chris McQuarrie tweeted yesterday that during the big IMAX sequences (“the HALO and the heli”) the film’s aspect ratio changes from 2.39 (standard widescreen) to 1.90 (nearly standard Academy ratio of 1.85). That’s not what we like to see when a film shifts into IMAX mode. For that we require super-tall boxy aspect ratios, or at the very least a 1.43 a.r., which is what Chris Nolan‘s Dunkirk shifted into from time to time. The IMAX “wow” factor needs that.

Most viewers (critics included) don’t even notice aspect ratios. Me to critic friend : “Is the film you saw in 1.85 or widescreen scope?” Critic friend: “Uhm, I’m not sure.”

Former Pres. Obama: "Democracy depends on strong institutions. It's about minority rights and checks and balances and freedom of speech…and a free press, and the right to protest and petition the government, and an independent judiciary, and everybody having to follow the law" pic.twitter.com/21u4yCdlqq

— ABC News Politics (@ABCPolitics) July 18, 2018