There’s absolutely no need or interest in another Magnificent Seven…zero. We’ve already had three — Akira Kurosawa‘s Seven Samurai (“54), John Sturges‘ The Magnificent Seven (’60) and Antoine Fuqua‘s mediocre remake of a remake from 2016. You know what I’d like to see remade? Howard Hawks‘ Red River (’46).
CNN’s Don Lemon has been axed effective immediately. This was obviously not a good day for this to happen with the competing story of Tucker Carlson‘s departure nipping at Lemon’s heels or vice versa. Two major-media news headliner departures announced within an hour!
There are obviously four women who helped to push Lemon out, either directly or consequentially — (1) Nikki Haley, the 50something Republican presidential candidate whom Lemon claimed was not “in her prime”; (2) Variety‘s Tatiana Siegel, whose 4.5 article reported about the news anchor’s alleged “misogyny at CNN“; (3) Lemon’s CNN co-anchor Kaitlan Collins, who clashed with Lemon over bristly attitudes and diva fits, and (4) White House press secretary Karine Jean-Pierre, who recently refused to be interviewed by Lemon.
When I think fondly of the 2019 films that will endure and grow in esteem as the years fall by…well, we all have our favorites. But in my mind at least and in a perfect world, the films that should have won the Best Picture Oscar are not, no offense, Parasite, which did win, and Once Upon A Time in Hollywood, the first runner-up.
I realize, of course, that almost no HE commenters agree with me, but I still say that the Best Picture Oscar champ should have been Martin Scorsese‘s The Irishman.
Failing that, the most deserving winners could or should have been, in a perfect world, the following: Kent Jones‘ Diane, Robert Eggers‘ The Lighthouse, Lulu Wang‘s The Farewell.
It’s absurd to mention Craig Zahler‘s Dragged Across Concrete in this context, but it’s a truly jarring, trail-blazing film that I’ll never forget. I wanted to forget Parasite after my second viewing — I didn’t dislike it, but I found it underwhelming.
The Best Documentary Oscar should have been won by A.J. Eaton and Cameron Crowe‘s David Crosby: Remember My Name.
Posted on 8.18.20: A couple of decades hence young cineastes will ask their older brethren, “Explain again why a well-made but not especially overwhelming social criticism drama from Bong Joon-ho won the Best Picture Oscar instead of this obviously superior Martin Scorsese gangster epic, especially considering the fact that The Irishman didn’t have anything like that Parasite scene in which a family of con artists welcomes the one person in the world who has a motive to rat them all out, and yet they let her in during a rainstorm while they’re all drunk and dishevelled…why did everyone give that scene a pass again?”
During last night’s Barry episode (“you’re charming“) we all saw Guillermo del Toro play “El Toro”, some kind of dandified, cane-toting, soft-spoken bad guy who visits Hank (Anthony Carrigan) and Cristobal (Michael Irby) to discuss Barry’s forthcoming murder. Toro has arranged for a queasy-looking character (Fred Armisen) to perform the hit during a witness protection meeting between Barry and various law officials.
It was just a cameo role, but it was very cool to see GDT delivering lines from a place of quiet confidence and with a dry understated manner. “Holy shit…there he is!” I said to Jett and Cait. I immediately wrote GDT a congratulatory note. And yet…
Guillermo was playing an allegedly fearsome criminal, the kind of sociopath who wouldn’t blink an eye at hiring a hitman. The emphasis, of course, was on dry humor with GDT talking about the difference between a podcast and TikTok exposure, but honestly? The undercurrent of menace wasn’t there. Because Guillermo couldn’t bury his humanity. He’s one of the gentlest and most compassionate people in the film industry, and simply couldn’t manage to “become” a sociopath. But at least he gave it a shot. File this under “hoot-level cameo.”
