Pay To See Cage Flick?

I’ve been to invitational screenings of Nicolas Cage movies for many decades. My first freebie was a viewing of Valley Girl in the spring of ’83. But I’m hazy on whether or not I’ve actually paid to see a Cage film. I find the idea jarring on a certain level.

I may have shelled out to see Vampire’s Kiss sometime in June ’89. It was definitely the first Cage film that I laughed out loud at )or more precisely with), but it wasn’t a momentous enough viewing event to singe itself into my brain.

I’m mentioning this because I’ll probably pay to see Pig tomorrow afternoon at the AMC Century City plex. I recognize that the Rotten Tomatoes and Metacritic cabals have given Michael Sarnoski‘s film high marks, but I don’t trust most critics. I smell a curio. Plus there are some films that seem born to stream and this is certainly one of them. Alas, there are no streaming options as we speak.

Plus I have to get up extra early tomorrow to watch the Jeff Bezos Blue Origin flight, which launches at 7 am Mountain time.

“Dune” Producers Obviously Confident

Denis Villeneuve‘s Dune (Warner Bros., 10.22 stateside) will have its world premiere at the 2021 Venice Film Festival, and not, significantly, as the opening-night attraction (which usually indicates that a film in question is not triple-A quality). The 155-minute Dune will screen on Friday, 9.3, or two days after the festival begins on Wednesday, 9.1.

Dune is playing out of competition, true, but Warner Bros. honchos wouldn’t have submitted it to Venice if they didn’t know for sure that it’s a cut or two above decent. They’re obviously confident that a sizable portion…okay, a majority of Venice critics will approve.

Jesus, I’ve almost talked myself in believing that Dune might turn out well. I might actually like it. Yeah, right.

Chumps at the Pump

Around 3 pm I was talking to my local mechanic at his service station (NE corner Fairfax and Melrose), and then suddenly he had to take care of something so I was just standing near one of the pump stations, and these kids pulled up in a fairly small and dirty car, slightly bigger than a Fiat but only by a bit. Fairfax High School kids, I figured. Five or six got out and the driver/owner, some geeky-ass Latin kid with bad skin and a mullet, turned up the volume.

It was a hip-hop track that seemed to really matter to these guys ’cause they were all half-ass dancing and slinking around — two girls, three or four guys, a performance. Except it was the worst hip-hop track anyone’s ever heard in their life and certainly the most irksome I’ve ever suffered through, and it was turned up so loud that the sound was fuzzy and distorted and punishing.

The older service-station customers were sneaking looks at the kids and rolling their eyes and presumably muttering “okay, now I have to listen to this ugly-ass shit on that crap-level radio or whatever…feral anti-social whatevers.”

I was just standing there and checking it all out but at the same time careful not to stare at anyone…no provoking, no eye contact. So I mostly just looked at the car and stared as the asphalt, but in their general direction. Inwardly I was muttering “you guys are untamed…plus your taste in music is shit and nobody wants to listen to whatever you’re dancing to” but one of the kids, a string bean with big eyes and grown-out hair, sensed or smelled something, and so just as they were getting into the car he stopped and looked (not glared but looked) as if to say, “Uh-huh…you thinkin’ somethin’…it’s in your eyes, man…I can see you won’t be startin’ nothin but I’m looking right back so you know that I know.”

So he knew and I knew but I decided “fuck this guy…no challenge or aggression but I’m not turnin’ away either…in fact I’m gonna eyeball him without getting too thorny about it.” He knew and I knew…go on, man…have a good day…the moment’s over.

Thank You

In actuality the percentage of Trump supporters who identify with or support the idea of Capitol stormers, Oath Keepers, Proud Boys and general bumblefuckery is only a small sliver of the “base”, and the percentage of the progressive left who identify as BLM, small-business-trashing, statue-toppling woke shitheads is also fairly microscopic.

PTA’s “Soggy Bottom” Aimed at NYFF

World of Reel‘s Jordan Ruimy has posted a fairly persuasive projection of the 2021 Venice Film Festival, as well as a scoop about Paul Thomas Anderson‘s Soggy Bottom (UA Releasing, 11.21) probably aiming to debut at the ’21 New York Film Festival. A source has told him that NYFF director Eugene Hernandez is close to locking down the world premiere of PTA’s Los Angeles-set period film.

Just to be thorough I checked with Hernandez myself this morning…crickets.

Ruimy is calling Soggy Bottom, which has something to do with a San Fernando Valley high-school student becoming an actor in the early ’70s, “the most anticipated movie of the year, without a doubt.”

Maybe, but I don’t think PTA is cooking with the old high-test these days. To me the PTA show peaked somewhere between Punch-Drunk Love and There Will Be Blood and started to gradually lose the mojo with The Master (’12), Inherent Vice (’14) and Phantom Thread (’17).

I’m sorry but we all experience peaks and valleys. Sometimes we bounce back — it happens in rare cases.

Take me, for example. The column-writing is going great, but I sure as shit am not peaking these days in other respects. Not since the wokester shitheads put out a contact on me starting in ’18 and ’19, followed by a special boosted contract put out last March over that idiotic hoo-hah about a single paragraph’s worth of commentary that I didn’t even write.

The only other things that people know about Soggy Bottom is that (a) Bradley Cooper plays a Jon Peters-resembling hotshot (and possibly Peters himself), and that (b) Benny Safdie will portray real-life politician Joel Wachs.

Here’s Ruimy’s Venice Film Festival spitball rundown:[NOTE: IMPROVED LIST POSTING TONIGHT]

Dune, d: Denis Villenueve
Blonde, d: Andrew Dominik
Madres Paralelas, d: Pedro Almodovar
The Power of the Dog, d: Jane Campion
The Card Counter, d: Paul Schrader
The Hand of God, d: Paolo Sorrentino
Spencer, d: Pablo Larrain
Decision to Leave, d: Park Chan-wook
The Eternal Daughter, d: Joanna Hogg
Driftwood, d: Michel Franco
Il buco, d: Michelangelo Frammartino
Mona Lisa and the Blood Moon, d: Ana Lily Amirpour
Official Competition, d: Gaston Duprat, Mariano Cohn
Freaks Out, d: Gabrielle Mainetti

Hanging Judge

If it was my call, Capitol rioter Paul Allard Hodgkins would serve a minimum of two years behind bars, and I mean two years of breaking rocks with sledge hammers in the hot sun and getting sent to the hole if he starts any trouble. Or working on a Southern chain gang in the sweltering heat, next to Paul Newman and George Kennedy. And no parole.

Instead US District Judge Randolph Moss gave Hodgkins eight lousy months — a wrist-slap sentence.

Before sentencing, the Tampa-residing Hodgkins said he got carried away by the January 6th hysteria. “If I had any idea that the protest would escalate (the way) it did, I would never have ventured farther than the sidewalk of Pennsylvania Avenue,” Hodgkins told Moss.

Bullshit — that’s what his defense attorney told him to say! Prosecutors had asked for an 18-month sentence…also too light!

Moss: “The court has to consider both what I think are the extremely damaging events that occurred that day but also who Mr. Hodgkins is as an individual. And as I think is reflected by the sentencing I imposed, I tried to strike that balance.”

Still On Lowery Fence

At Sundance ’13 (8 1/2 years ago) I became a David Lowery devotee after catching Ain’t Them Bodies Saints (descendant of Robert Altman‘s Thieves Like Us, young love, guns, outlaws, rural flavor).

Three years later I got off the Lowery bus after totally hating Pete’s Dragon — a bone-headed, nonsensical, friendly dragon film, from Lowery and Disney and costarring Robert Redford.

During Sundance ’17 I hated The Yellow Birds, which Lowery co-wrote the screenplay for, but fell head over heels for Lowery’s minimalist Ghost Story (silent, watchful ghost under a plain bedsheet).

In ’18 came Lowery’s decent, modestly approvable Old Man & The Gun (Redford as gentleman bank robber).

Lowery is clearly a grade-A director, but he has two modes — intriguing, lower-budgeted art-house guy and big-budget fantasy popcorn guy.

And now we have Lowery’s The Green Knight (A24, 7.30), a medieval fantasy flick based on an Arthurian legend, which has been praised by the sensible and respected Globe and Mail critic Barry Hertz (“Dev Patel can cut off my head any time he likes”) and N.Y. Times columnist Kyle Buchanan (“A great movie where a roster of A24 all-stars all get to kiss Dev Patel on the cheek”). King Arthur’s obstinate nephew Sir Gawain (Patel) on a quest to confront a formidable CG tree creature.

Lowery’s next film is Disney’s Peter Pan & Wendy…another one!

I’m extremely suspicious of The Green Knight raves. Who wouldn’t be? I want to hear from a couple of sensible sourpuss critics.

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