Month: January 2025

From Zack Sharf‘s 1.24.25 Variety story about Sophie Hyde‘s Jimpa, a story about “queerness and queer joy and trans joy,” according to costar Aud Mason-Hyde, Hyde’s non-binary son.

Mason-Hyde plays the gender-ambiguous Frances, Olivia Colman portrays Frances’ mom Hannah, and John Lithgow becomes Jimpa, Frances’ Amsterdam-residing gay granddad.

Sharf: “One of the most notable aspects of Jimpa is that it features full-frontal nudity from Lithgow, who is 79 years old.

“The actor says that ‘nudity is an extraordinary tool in creating an impact…it’s the one thing all of us hide from the rest of the world…it’s the one thing we keep guarded and very much to ourselves [but] if you’re willing to expose that for a good reason in the telling of a story, then there’s nothing more powerful.’”

Thanks to Scharf and Lithgow for their candor. I wasn’t all that interested in seeing Jimpa, frankly, but now I’m really not interested.

Three years ago Hyde’s Good Luck To You, Leo Grande (’22), which also featured an older actor (i.e., mid 50-ish Emma Thompson) performing a nude scene, played Sundance. I wrote a piece about the film on 1.26.22, and here’s one of my comments:

“I wouldn’t want to see a nude scene with anyone who’s too old or saggy or out-of-shape. There are very few older actors whom I’d be willing to watch without clothing, but think about the possibilities. Imagine, for example, if Neil Young or Jack Nicholson decided to star in a film that called for full-frontal schlongola. My reaction would be filled with terror.

“Even a nude scene with a muscular, rugged-looking old actor like Harrison Ford…even that might be a problem.”

If Joe Biden had kept his word about being a one-term “bridge” president and encouraged a competitive Democratic Party primary process to start in the summer of ’23, a strong candidate (possibly Kamala Harris, possibly someone better) might have emerged…a candidate who might have defeated Donald Trump on 11.5.24.

But of course, Joe turned arrogant and decided that God wanted him to successfully run for re-election, and that decision basically doomed democracy in the U.S. of A., and here we are. Joe caused it, Joe did it…Joe is the bad guy. Which is precisely what James Carville said to Al Hunt a couple of days ago.

Personal HE plea to Academy members: Don’t follow through with crowning Emilia Perez. Joe and Jane Popcorn hate this film (especially in Mexico!) and you’ll just be spitting in their faces if you give Jacques Audiard’s film a Best Picture Oscar.

How would you process an Audiard/Netflix win if you were among the Rotten Tomatoes naysayers? “Whee, goodie!”? 70% of the mass audience isn’t feeling the Perez love, and your response is going to be…what, “suck on it because we know better?”

Please step outside yourselves and your identity-above-all, “send Donald Trump a message” agenda…cinematic transportation over wokeism…begging on my knees.

1.25.25 update — posted this morning in comment thread:

The idea behind this post is not hate per se. I was mostly okay with Emilia Perez, remember, when I first saw it in Cannes eight months ago, and I don’t hate it now. But it certainly DOES flirt with mediocrity during the second half. And the bottom-line truth is that if not for the trans signpost factor, Perez would simply not be a Best Picture nominee. This is a plea for Academy voters to emerge from the cultural woke cocoon of the past six or seven years, and to finally put aside sexual-identity or gender issues as deciding criteria. Enough with the social justice warrior crap. Please consider voting for the Best Picture nominee that doesn’t do the woke two-step (please give that nagging “revolutionary” ethos a rest) while actually fulfilling and delivering a kind of high on its own emotional and cinematic terms. Which is what Anora, Conclave and A Complete Unknown manage to do. 

Joe and Jane Popcorn voted for Trump in order to get rid of the wokey or at least tone it down. For the love of God, smell the coffee. The woke point has been made, and now it’s time to set that bird free.

Penned by Sasha with significant Jeff edits: The film industry and the Oscars have dug themselves into a hole, and that hole is called “not celebrating movies for normal people.” They celebrate movies made for themselves. They make movies to look good to define who they are…their utopian diorama.

In the late teens they brought in international voters, who don’t care about the film industry here. They don’t care about movies that we care about. Or if our movie theaters survive. That’s not their ultimate goal. They like to pick movies that they like, which is fine. Nothing wrong with that.

But the Academy basically made its bed when they invited in all those international voters, which they did to solve the problem of the screeching activists who were coming at them for Oscars So White and all that.

Oscar voters have shown “not just their disdain for the public but also the American studio system. This is the second year in a row in which two films from the International Feature category hav also landed in Best Picture, taking slots away from A Real Pain, September 5 and Sing Sing. Why? Why can’t there be any way to recognize American studio films to help, you know, salvage a collapsing empire? Revive a corpse? Save movie theaters? Just spitballing here.

So the Oscars are going “international” and on streaming, specifically Netflix, which is also international. How convenient for them, eh? Shame about Hollywood though. Shame about movie theaters. Shame about all of us who love them.

I don’t think there is any bringing back the industry we all knew and loved, and I mean one that was somewhat vibrant and semi-humming along as recently as ten years ago.

Consider the opening paragraph of David Rooney’s Sundance review of Jimpa. It contains a word that gave me pause. Correction — vaguely pissed me off.

Jett Wells’ Best Picture preferences:

HE’s Santa Barbara crib (2.5 thru 2.12).

Perhaps unwittingly, idiot arsonists probably started the Pacific Palisades fire. I know nothing, but a voice in the back of my mind is whispering that the new Hughes fire was almost certainly ignited by one or more sociopaths. The only way this really stops is a decent rain, but are the odds? Let’s not even think about the possibility of more Ventura County fires causing havoc in Fillmore, Santa Paula, Camarillo, etc.

President Trump having pardoned all of the 1.6.21 animal hooligans..the low-life assaulters, window-smashers and defecating slimeballs who invaded the U.S. Capitol a little more than four years ago…it doesn’t get much more reprehensible than this. Ditto the righty legislators and commentators who’ve stated their approval of same. Mad militias, political goon squads, vigilante mob rule…go for it, guys!

In a 1.16.25 Protect Democracy poll, it was reported that (a) 73% of Americans oppose pardons for those convicted of assaulting Capitol Police officers, including 54% of Republicans, (b) 56% of Americans oppose pardons for those convicted of organizing and directing violence on January 6th; and (c) 55% of Americans oppose pardons for those convicted of crimes by a federal court. And Trump has decided to let them all skate.

8:48 am: Sebastian Stan‘s Donald Trump performance has also been nominated for Best Actor! A triumphant Apprentice moment, and shame on those small-minded, quarter-inch-deep publicists who forbade their clients from participating in a Variety “Actors on Actors” segment with Stan.

Stop Emilia Perez and Karla Sofia Gascon, stop Emilia Perez and Karla Sofia Gascon, Stop Emilia Perez and Karla Sofia Gascon, etc.

HE strongly approves of Conclave‘s Isabella Rossellini being nominated for Best Supporting Actress.

What happened to Hard Truths’ Marianne Jean-Baptiste snagging a Best Actress nom? I’ll tell ya what happened. One, nobody saw it. Two, Jean-Baptiste’s character was too pissed off, too hardcore, too Donna Downer.

HE strongly disapproves of Queer‘s Daniel Craig having been elbowed aside by Sing Sing‘s Colman Domingo in the Best Actor category. Nobody saw or much liked Sing Sing (be honest), and Domingo was nominated mainly because of (a) the widely-agreed-upon necessity of nominating at least one person of color in major categories, if at all viable, and (b) that sensitive-watery-eyes thing that Domingo uses all the time.

Stan and Strong aside, the morning’s big wow is Walter Salles‘ I’m Still Here being nominated for Best Picture, Best Actress, Best Adapted Screenplay and Best International Film.

The Best Director nomination that went to The Substance‘s Coralie Fergeat (gender tokenism) apparently bumped the entirely deserved and 100% necessary Best Director nomination for Conclave‘s Edward Berger. Stern disapproval. Gender tokenism would not have been a factor if Babygirl‘s Halina Reijn has been Best Director nominated — it would have simply been deserved.

A Real Pain obviously should have been among the ten Best Picture nominees. Yes, Pain‘s Kieran Culkin was nominated for Best Supporting Actor, but this was locked in several months ago.

We all knew Angelina Jolie‘s bad personal karma (i.e., encouraging court-mandated hostility against Brad Pitt) had eliminated any chance of her Maria Callas performance landing a Best Oscar nom, but now, glory be to God, this is an official, AMPAS-certified reality.