Thank you, Venice naysayers, for stating opinions that seem to indicate that Pablo Larrain‘s Maria, which is screening this weekend in Telluride, is a half-and-halfer that isn’t quite worth the candle. Thank you bless you…now I can bypass Maria without a moment’s hesitation.
Jordan Ruimy: “You shouldn’t skip Nickel Boys! It’s going to be the talk of Telluride. I can almost guarantee that.”
HE: “Why? I don’t get it. Those poor reform-school lads had a miserable time at the hands of racist bastards. So?”
Ruimy: “I understand your reservations, but I’ve just heard too many great things about it. Watch it just to stay on the beat when the rave reviews drop.”
HE: “Jesus, you’re killing me.”
Ruimy: “Hah.”
Julie Huntsinger quote: Nickel Boys “is such a towering achievement. I couldn’t believe it. My jaw dropped to the floor. You almost can’t speak after because it’s cinematically engaging, arresting. It is emotionally rewarding. It should be one of the most talked about films of the whole year.”
Why would Angelina Jolie want to even try to simulate the voice of one of the greatest all-time opera singers? What’s the point? I’ve been presuming all along that Jolie’s singing would be Marni Nixon-ed.
Everyone’s here in cool, radiantly sunny Telluride, and there’s nothing much to do at 3:13 pm except plan which screenings to catch at which juncture. And take a nap. And smell that mountain air.
It all starts tomorrow, and over the four-day span most of us will catch not more than 15 or 16 films — it won’t be physically possible to see more. Which is a shame as almost everything scheduled (roughly 35 features) looks good to very good.
I’m hearing and presuming that at least two hot films not listed on the slate (The Apprentice and A Real Pain) will be screened on a TBA sneak basis.
HE has been invited to Roger Durling’s annual La Marmotte birthday celebration gabby-gab, which starts around 8 pm. (Seating is a very delicate matter so I’ll be arriving early.)
HE’s first viewing will be Friday afternoon’s (2:30 pm) secret patron screening at the Werner Herzog (A Real Pain?), followed by a 6 pm Herzog showing of Edward Berger’s Conclave, the Ralph Fiennes Vatican melodrama that’s sure to be an Oscar contender. I could catch Nickel Boys at 8:45 pm but no thanks…sadistic Jim Crow bastards make life hell for reform school lads of color in the ‘60s…later.
One film at a time, one day at a time…
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…you’re in a very tough spot financially. We all understand this; even HE’s toxic commenters understand what extreme financial pressure feels like.
But Hammer suffering is a good thing…right, Elizabeth Wagmeister? Tie him to the Allman Brothers whipping post…lash, bash, attach the electrodes, turn on the current, etc.
Hope you're all happy with what you did to this man. I don't expect any sympathy from you or forgiveness. You like it this way, even if it's destroyed Hollywood. https://t.co/EO1cjaR37l
— Sasha Stone at Awards Daily (@AwardsDaily) August 28, 2024
I’ve posted the following twice, so here goes the third time…
Posted on 2.4.23 — 17 months ago:
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.
