This is real. HE feels that these sociopathic Zoomer eco-activists should have drawn longer sentences. As in, like, “throw away the key.”

Then again what choice did I have?

From Manohla Dargis’s N.Y. Times review:

From HE’s 5.16.24 Cannes Film Festival review:

…for the great Maggie Smith, who never quite “peaked” in the HE sense of the term but kept on rolling on…from the late 1950s through the mid 20teens…I know what I’m obliged or expected to say about her remarkable career and yes, we all think of Smith of having excelled when playing middle-aged or elderly roles, but when I heard of her passing this morning the first thing that came to mind was her deeply stirred and stirring Desdemona in Laurence Olivier‘s Othello (’65), filmed when Smith was 30 or 31.

Tongues are wagging about how overexposed Nicole Kidman is, working nonstop in negligible-to-middling streaming projects, possibly since her agent represents a slew of names that aren’t working and Kidman seems to have some compulsion to be absent from her personal life. It diminishes the mystique of whenever she’s good in a film. Honestly? It’s gotten to the point that when Kidman is costarring in a new streamer or eccentric indie the general response is “oh, her again.”

From Deadline commment thread:

I’m such a huge fan of Russell Metty‘s cinematography on The Misfits that I’m almost tempted to purchase the 4K Bluray. But I won’t because the 2011 Bluray I own is quite the sharp-focused, perfectly lighted freshwater melancholy bath. Metty’s films include All That Heaven Allows, Written on the Wind, Man of a Thousand Faces, Touch of Evil, Imitation of Life, Spartacus, The Appaloosa, Madigan and The Omega Man.

I’m also a fan of Alex North‘s Misfits score.

I’m mentioning The Misfits because I’ve just watched a hugely interesting video essay about John Huston and Arthur Miller’s 1961 drama, and the maestro is none other than Isabel “Izzy” Custodio, otherwise known by her YouTube handle, Be Kind Rewind.