George Roy Hill‘s Slap Shot (’77) has gotten better with each successive re-viewing. Nancy Dowd‘s screenplay is based on her brother Ned’s rough-and-tumble experience with the Johnstown Jets, a minor-league Pennsylvania hockey team. And yes, in the early to mid ’70s violence was a serious selling point with the low-rent fans.

But the film doesn’t feel “realistic”…not really or fully. It may take a while during your first viewing, but it gradually hits you that Slap Shot is a brilliantly sustained farce — partly a satire of crude, working-class lifestyles and sensibilities, and partly a kind of valentine to same.

Assembled and finessed to a fare-thee-well (dp Victor Kemper and editor Dede Allen are a dynamic duo), it’s a blend of grim blue-collar realism and coarse slapstick. The characters are all trapped in a kind of blue-collar, no-exit hellscape, but only a couple of them (the married malcontents played by Michael Ontkean and Lindsay Crouse) succumb to anything close to lethargy. Everyone else is indefatigable.

And the violence is hilarious. Damn near every line is about making fun of these yokels, and yet Hill and Dowd clearly love them. It’s almost spooky how intoxicating it all is. Except, that is, for the climactic striptease-on-the-ice scene, which I’ve never believed.

Above The Line‘s Jeff Sneider and Perri Nemiroff clash over Women Talking starting around the 53:00 mark. Sneider: “It’s number 10! It will win if every woman in the Academy votes for it. It won’t win because no men in the Academy will be voting for it. This is a bad movie…simple as that.” It gets even better at 56:30: Sneider: “It belongs nowhere near this [Best Picture] race…what a fucking boring waste of time!”

HE to Sneider, Nemiroff: Steven Spielberg‘s The Fabelmans has no chance to win…nobody hates it but nobody really thinks it’s all that great…it’s a semi-agreeable, very broadly acted family film (especially on Michelle Williams‘ part) which contains very little compelling material except for that concluding scene with John Ford / David Lynch. If it weren’t for the kneejerk Spielberg kowtow factor, it wouldn’t even be in the conversation.

HE to readership, Movie Godz, everyone within the sound of my voice: “Watch the skies…no. For the love of God and the betterment of civilization, stop Everything Everywhere All At Once…a grueling, agonizing, interminable piece of medieval torture …a harbinger of cultural ruin and a cinematic apocalypse if I ever saw one…all hail the GenXers and boomers who despise it with every fibre of their being, and there are many who feel this way.”

Guy Ritchie’s The Covenant (UA Releasing, 421) was shot a year ago near Alicante, Spain. It’s basically a “do the right thing” rescue mission flick. Recovering from a war wound, Sergeant John (Jake Gyllenhaal) is determined to save a local interpreter (Dar Salim) who once saved John. Somewhat reminiscent of Sam Waterston‘s Sydney Schanberg determined to save Haing Nor‘s Dith Pran in The Killing Fields.

I don’t trust Ritchie but let’s see what develops.

Team Biden apparently waited until the Chinese spy balloon was over the sea (off the coast of South Carolina) to shoot it down.

What I want to know is this — where’s the cathartic Tom Cruise-Jerry Bruckheimer kill shot explosion? I wanted to see the balloon taken down dramatically, and now I feel shortchanged.

For the first time since he was branded as a sexual cannibal-animal and wham-banished from the film business, Armie Hammer has presented his side of the story.

Ignore the Variety summary by Elizabeth Wagmeister because the Air Mail piece is about a lot more than just about the usual contrition and spin (i.e., “I was bad, and now forgive me”). What Hammer contends and what he offers in terms of compelling evidence is highly persuasive.

I’m not going to summarize the main points of James Kirchick’s 2.4 Air Mail article as anyone can read it (it’s not paywalled), but there’s no question that anyone with an open mind will emerge with their previous impressions strongly challenged.

I read the article this morning, and many of the accusations against Hammer look kinda flimsy now, I can tell you that.

At the very least readers will conclude that Kirchik’s piece has downgraded Armie’s status from that of an alleged monster and ruthless rapist-carnivore to the much less odious label of admitted former asshole (an asshole in recovery, I mean) who knows where the BDSM attraction came from (i.e., sexual abuse as a powerless youth).

The article claims that Hammer’s primary sin was using his power as a rich, famous actor in his 30s (“power imbalance” being a major #MeToo felony these days) to sexually overwhelm various younger women and then (this is what really got him in trouble) ghosting them when he decided to abruptly or whimsically end the affairs like that.

Which is similar to what what Ansel Elgort was lynched for also — ghosting the of-legal-aged “Gabby” after being intimate with her a couple of times.

Message to everyone: “Ghosting” a lover really hurts and often leads to revenge moves. If you want to move on, save yourself a lot of trouble by conveying this in some kind of half-considerate way.

We all agree that ignoring a safe word is an awful thing to do, and this charge hasn’t been specifically addressed in the article (or maybe I read it too fast) but the sexual behavior of Armie and the various women who participated, so to speak, is addressed and explained. Hammer raped no one, he says — it was all a consensual game with rules and a particular script laid out in advance.

Hammer seems to be mainly guilty of behaving like a sexual obsessive. He certainly didn’t chew on anyone’s rib or cut off a woman’s toe and put it in his pocket….none of that crazy stuff.

Excerpt #1: “The Hammer case raises questions about the media. Virtually without exception, the press has treated the accusations from Hammer’s professed victims, no matter how fantastical, with utter credulity. As recently as last October, for instance, a story in New York magazine claimed that Hammer stands accused of ‘possible cannibalism.'”

Excerpt #2: “One prominent Hollywood figure has decided to speak out unreservedly in Hammer’s defense. ‘I found him to be so polite and so well mannered and so nice and so funny and so real,” says Howard Rosenman, the veteran producer of Call Me by Your Name. ‘And don’t forget, I spent time with him a lot, both in Crema and on the road, when we were on the Oscar trail. So all of [the allegations are] just pure bullshit, and yes, he deserves a second chance.’

“Rosenman, who is gay and has been involved in some of Hollywood’s most important gay-themed films (The Celluloid Closet, Common Threads: Stories from the Quilt, Milk), sympathizes with Hammer as someone whose sexuality was once considered taboo. ‘It’s been puritanical,” Rosenman says of the media’s prurient coverage. ‘The kink-shaming is just awful. I, as a gay man who had sex for many, many years with many different kinds of people, understand this better than anyone.”

“In a recent podcast interview, Luca Guadagnino said that he ‘cannot wait to work with Armie as soon as I have a great role for [him].'”

Excerpt #3: “When I ask [Hammer] if he takes inspiration from his mentor Robert Downey Jr., who was arrested multiple times in the late 1990s on drug charges and spent several spells in jail, his answer turns toward the mythological: ‘What I would say is this: There’s examples of people who went through really difficult times and experienced what [the author] Joseph Campbell would call ‘the hero’s death.’ And the hero must die so the hero can be reborn again.’

Then again it’s HE’s sight-unseen view that Cocaine Bear (Universal, 2.23), however darkly funny it may or may not be, is rooted in cruel, callous attitudes about innocent wildlife.