All in a single comment thread posted today, the utterly cancerous malignancy afflicting movies today + the ADD effect of streaming — Dyson, Henry, Miesel and Rawls:
Miles Dyson: “It might be me, but streaming has made watching movies harder. I can’t get invested like I used to. There is a major difference between making an effort to go sit down in a cinema and launching an app. I find myself not sticking to things at all. A lot of it is so blah.”
Hardcore Henry: “I swear the rise of apps has single-handedly helped drive the rise of ADHD. I’m one of the most focused, undistracted people I know (not even trying to #humblebrag here — it certainly has its detriments) and the damn things make me fidget and twitch like Brad Pitt in 12 Monkeys.”
Pete Miesel: “Virtually every film coming out these days is a superhero movie, a film version of an amusement park ride, a remake of a TV series, an adaptation of a previously published novel, or a musical jukebox biography where every character addresses each other by their full names (‘good point, John Lennon of the Beatles’). And we’re worried about social realism??”
Lou Rawls’ Ego: “Most box office being from non-US markets is why movies are so dumb and bland.”
Variety: “Instagram has issued an apology to Spanish auteur Pedro Almodóvar for removing a poster for Parallel Mothers (Madres paralelas), his upcoming Venice opener . The poster in question depicts a lactating nipple. It was initially posted on Monday, and then removed for violating Instagram’s rules against nudity.”
Nudity? This is mother-and-child boobery.
Even apart from the woke bullshit, the basic economic model of Hollywood — you spend this much on a movie, it’s got to make the money back — has broken down because of the economics of the streamers. Which, some would argue, not only takes the thrill out of things, to put it mildly, but ensures something else.
In other words: Netflix can spend $220 million on one bad action film, it can lose all of that, and it does not matter, because their business model is “it’s all about the subscriptions, it’s all about the subscriptions, it’s all about the subscriptions, it’s all about the subscriptions, it’s all about the subscriptions….”
It’s that formula that makes the triumph of woke aesthetics possible, that makes “get woke, go broke” irrelevant. Because, of course, “get woke, go broke” remains true. Nobody — nobody! — gives a fuck about woke issues except for the one or two percent of the population who are the scum liberals who control the media and Hollywood.
Without the impossible-to-lose reality of streamer economics, none of this would work.
Today the 2021 Telluride Film Festival added the following protocols:
• All attendees traveling to Telluride for the SHOW, must present proof of a negative PCR test conducted within 72 hours of arrival in Telluride. Local passholders will also need to present proof of a negative PCR test conducted within 72 hours of collecting passes. In both circumstances we ask for a printed copy of the test results to be presented for each passholder when passes are collected at the SHOW Box Office. If unable to provide negative test, the attendees will be unable to pick up the pass and pass will be held until negative test provided.
•. A mobile antigen and PCR testing unit will additionally be made available to all attendees for added peace of mind while in Telluride
• Masks covering nose and mouth will be required for audiences at all film screenings
• Masks covering nose and mouth are required when awaiting, boarding, traveling on, or disembarking all Festival transportation, including charter flights.
Michael B. Jordan plays Charles Monroe King, a young, happily-in-love military guy serving in the Middle East who writes a journal of his experience for his son, Jordan. That’s two Jordans — actor Jordan + infant son Jordan.
But the instant that Jordan, the 34 year-old movie star, stands up buff and bare-chested, you’re going “wait, wait…who’s built like this? How much did he pay his trainer?”
Based on Dana Canedy‘s “A Journal for Jordan: A Story of Love and Honor,” the forthcoming Sony release — directed by Denzel Washington, written by Virgil Williams — opens on 12.10.21.
It’s fairly obvious what the film is about, what the main current is.
Roughly two months ago a very early draft of Eric Roth‘s screenplay for Killers of the Flower Moon (dated 2.20.17,...More »