“There’s Hollywood Elsewhere and then there’s everything else. It’s your neighborhood dive where you get the ugly truth, a good laugh and a damn good scotch.”
(Star Wars: The Force Awakens, Super 8)
“Smart, reliable and way ahead of the curve … a must and invaluable read.”
(Down and Dirty Pictures Easy Riders, Raging Bulls)
“He writes with an element that any good filmmaker employs and any moviegoer uses to fully appreciate the art of film – the heart.”
–Alejandro G. Inarritu
(The Revenant, Birdman, Amores Perros)
“Nothing comes close to HE for truthfulness, audacity, and one-eyed passion and insight.”
(Salt, Clear and Present Danger, Rabbit-Proof Fence, Dead Calm)
“A rarity and a gem … Hollywood Elsewhere is the first thing I go to every morning.”
“Jeffrey Wells isn’t kidding around. Well, he does kid around, but mostly he just loves movies.”
(Almost Famous, Jerry Maguire, Vanilla Sky)
“In a world of insincere blurbs and fluff pieces, Jeff has a truly personal voice and tells it like it is. Exactly like it is, like it or not.”
–Guillermo del Toro
(Pan’s Labyrinth, Cronos, Hellboy)
“It’s clearly apparent he doesn’t give a shit what the Powers that Be think, and that’s a good thing.”
Director (The Punisher), Writer (Armageddon, The Rock)
“So when I said I’d like to leave my cowboy hat there, I was obviously saying (in my head at least) that I’d be back to stay the following year … simple and quite clear all around.”
–Jeffrey Wells, HE, January ’09
“If you’re in a movie that doesn’t work, game over and adios muchachos — no amount of star-charisma can save it.”
–Jeffrey Wells, HE
At the end of TITANE I was left with the impression the entire film was a metaphor of one’s relationship to trauma and the fallout that’s left in its wake. Everything was either a reaction to and, eventually, a counter point to the first seven to ten minutes of the film. The sex, to some degree, is beside the point with any themes of gender identity (and fluidity) secondary to one’s desperate attempt to either flee or reconcile trauma. A key component of trauma recovery is to be willing to bravely, fully see yourself for how and who you are. In the case of the film this was profoundly literal when, near the end she finally looks at her nude, pregnant body in the mirror and faces the truth. She doesn’t try to cover her body after that. After that you encounter the strength to share that vulnerability and truth with someone else in a way that’s full of compassion and free of judgement. More often that not that’s where healing can begin. She had already provided that for him with the syringe and, in the end, he reciprocated. They were two characters consumed with trauma that, by the end, had discovered peace and grace as a result of their relationship. Brilliant fucking film.
And how many of these films has Wells actually seen? Two?
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Can’t you just stop?
He’s shitting over films he hasn’t seen. Is it that unreasonable to question him about it?
I have yet to see a single other movie on the list but having Titane as number 2 is absolutely insane. It’s the arthouse version of an arthouse movie. It’s impressive filmmaking but what 1-2 percent of the whole country will like it, maybe less than that.
But the list above is about which movies critics thought where the BEST. Not the movies who CONNECT the best to average popcorn Joes-Janes.
Question to Wells – is King Richard really great movie which will stand the test of time or just Will Smith Oscar mainstream vehicle destined for short-lived Oscar glory?
Power of the Dog has very big story problems – as is the case of most films adapted from novels, it has no clear (i.e, multiple) protagonists, a meandering plot that shifts POV regularly, and no central metaphor or image that speaks poetically. Petite Maman, on the other hand, is masterful, tender and beautiful (and 80 minutes long!)
Like it or not, Belfast looks like a serious contender https://www.theguardian.com/film/2021/oct/12/belfast-review-kenneth-branagh-jamie-dornan-judi-dench
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