Day: December 25, 2023
If “Air” Had Been Released A Few Weeks Ago
We all understand how the Oscar game works. If you want your indisputably excellent film to be regarded as a Best Picture contender, you have to release it during award season (late October to Christmas).
Yes, there have been exceptions. Everything Everywhere All At Once was released on 3.25.22, and it wound up winning the Best Picture Oscar on 3.12.23 — nearly a full year later. The Silence of the Lambs opened on 2.14.91, and collected five major category Oscars 13 and 1/2 months later, including Best Picture.
Timing is nonetheless a huge factor (at least in most people’s minds), and so let’s play a game, shall we? Let’s pretend that Ben Affleck and Alex Convery‘s Air, by any yardstick an excellent character-driven sports film with at least two Oscar-calibre performaces (Matt Damon‘s Sonny Vaccaro and Viola Davis‘s Deloris Jordan) and a terrific finale that really sinks in…let’s pretend that Amazon didn’t release it on 4.5.23 but during award-season prime time.
You know it would be sitting on the Gold Derby best-of-the-year rosters and possibly might have prevailed among one or more the critics groups. You know it would have. So let’s cut Air a break and pretend it was released six or seven weeks ago. We’d be looking at a whole different ballgame.
Wiki: “Air was originally slated for a streaming-only release on Amazon Prime Video, but Amazon Studios eventually decided to release it theatrically following strong results from test screenings. It was the first Amazon title since Late Night to be given an exclusive theatrical release, and $40 to $50 million went into promoting the theatrical. It began streaming on Amazon Prime Video on 5.12.23.”
And here we are in late December 2023, and the world has obviously changed since last spring, but Air is still a first-rate, dialogue-driven sports film. As well as being an excellent “dad” film. (No shame in that!) It’s a very human, inside-baseball sports drama that feels honest and relatable every step on the way. Cut from the Moneyball cloth.
“Ferrari” Reactions Are Largely About Expectations
For nearly a quarter-century Michael Mann made a series of intensely male-ish, high-stakes grand-slammers — hardcore films about headstrong fellows forging their own paths, sometimes outside the bonds of legality but always single-mindedly. And man, did they hit the spot!
The hot streak began with 1981’s Thief and ended with 2006’s Collateral, and also included Manhunter (’86), The Last of the Monicans (’92), Heat (’95), The Insider (’99) and Ali (’01) — seven films in all.
Then came the “excellent work but not quite a bell-ringer” period…Miami Vice (’06), Public Enemies (’09) and Blackhat (’15)…movies that registered as ground-rule doubles or triples. Which felt disorienting to Mann-heads given his 23-year home run history.
Now comes Ferrari (Neon, 12.25), which is made of authentic, bruising, searing stuff. In my eyes it’s another grand-slammer but what do I know? Obviously the reaction so far has been mixed-positive — many admirers but also a modest-sized crowd of dissenters.
Joe Popcorn Stands By Clooney’s “Boys”
The shithead critics who’ve pissed all over George Clooney‘s The Boys in the Boat — easily his best directed film since Good Night and Good Luck — have been themselves pissed on by Joe and Jane Popcorn.
Good for this — Clooney’s underdog-vs.-overdog Olympic sports film is familiar but elegant — a confident effort that believes in itself and presents grace and simplicity for the virtues they’ve always been.
The difference is that critics are hung up on racial signage (i.e., the woke comintern has instructed them to regard any all-white, non-diverse movie that isn’t about building the A-bomb…they’ve been ordered to regard such films askance) and Joe and Jane simply aren’t distracted by same…they’re just watching the movie and going “hmm, yeah, pretty good.”
When Bad People Review Bad Films
There’s no disputing that The Iron Claw is coarse, bruising and emotionally shameless — a death-trip family flick with an arch-villain of a paterfamilias (Holt McCallany’s Fritz Von Erich) whose malice is barely addressed by his sons and never confronted.
And all of it colored by the fraudulence of the “sport” of wrestling itself — a rancid charade that makes you want to barf or at least turn away.
And the grotesque, eye-rolling spectacle of one son after another almost comically succumbing to the black void like Radio City Rockettes dancers performing choreographed splits…it’s somewhere between nauseating, hilarious and ludicrous.
There’s another thing that’s beyond dispute, and that’s the fact that those who are earnestly praising this beyond-bizarre, blue-collar soap opera should never, ever be trusted.
I’m dead serious — the critics and HE commenters who’ve given Sean Durkin’s film a gold star and a back rub are dishonest people, or at the very least completely unmitigated and certainly undisciplined by what most of us would call “taste”.
For the rest of their lives these knaves, these one-eyed jacks, these human-sized hunks of gravel will have to answer for their praise for this garbage dump of a film…it will stalk them in perpetuity.
Chicago Reader critic Micco Caparale, 12.19:
N.Y. Post critic Johnny Oleksinksi:
Incidentally: Before yesterday’s screening of The Iron Claw I hadn’t realized how short The Bear ‘s Jeremy Allen White is. The guy is only 5’ 7”, or seven inches shorter than the late Kerry Von Erich (whom he plays in the film) and an inch shorter than Humphrey Bogart.