Disgruntled friendo: "From the Palme d’Or and on down, the Cannes Film Festival awards often don’t make any sense, and this year are only compounding what is now the twee irrelevance of Cannes itself."
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The Angeli Rose Gomez story is a couple of days old but I was buried in Cannes screenings, etc. Someone needs to make a documentary about this woman and what she did last Tuesday in Uvalde, or maybe even a feature.
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World of Reel‘s Jordan Ruimy has been told that the Palme d’Or will either go to Lukas Dhont‘s Close (the right choice) or to the sad (i.e., tragic) but unexceptional Tori et Lokita, the latest moderately decent film from Jean Paul and Luc Dardennes, the Belgian brothers who make the same kind of matter-of-fact, low-key, point-and-watch film year after year after year.
Tori and Lokita is fine but very familiar if you know the Dardenne and how their films tend to play. It’s about a pair of African immigrants (not related but pretending to be) suffering cruel or indifferent treatment, mostly at the hands of Belgian drug dealers. You can’t help feeling sorry for these kids, but desperate immigrants have been getting kicked around and exploited for centuries, haven’t they? Life can be heartless for have-nots.
Audience compassion for victims is one thing; recognition of filmmaking excellence is another. The twains don’t necessarily overlap.

The last time I was on the Cannes-to-Paris train was four or five years ago. No SNCF wifi then -- you were on your own with your phone signal. Now there's on-board wifi and with a semi-decent strength. Left Cannes this morning at 11:24 am -- arriving at Gare de Lyon around 5 pm (or 8 am Los Angeles time). The high-speed rail vibe is a nice gentle groove. It settles you. We're just north of Lyon now. The HE pad is at 74 rue Duhesme, in the 18th. I should be opening the door by 6 pm or thereabouts. I'm looking forward to a nice, long, relaxing walk around town.
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…had the cast-iron balls to go with a Bridges at Toko-Ri ending, rather than the triumphant one they chose. I’m talking about Tom Cruise‘s titular character and Miles Teller‘s “Rooster” Bradshaw suffering the same fate that William Holden and Mickey Rooney did 68 years ago. I’m talking about Cruise and Teller being surrounded by enemy troops after crash landing and putting up a good Wild Bunch-level fight before being outflanked and shot to death.
Dying together would have added poignance to the brotherly bond that Maverick had with Rooster’s dad, “Goose”, back in the ’80s, not to mention ending the contentious vibe that exists between Rooster and Maverick from the beginning.
A death ending would also have said “oh and by the way? War isn’t a fucking video game….it’s real, and sometimes the mission doesn’t go perfectly and sometimes good pilots buy the farm.”
A Cruise-and-Teller Toko Ri ending would probably translate into a slightly diminished box-office, agreed, but maybe not. A major character dying at the end of Titanic didn’t hurt the returns any. Not to mention Daniel Craig getting killed at the close of the highly successful No Time To Die.

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