The early trailers suggested that Doug Liman‘s American Made was a cut-loose acting opportunity for Tom Cruise, but that the film would be wild, lurchy and lunge-y. All kinds of pumped and razmatazz. The reviews are more or less saying the same thing. THR‘s Leslie Felperin: “As much fun as all this laughing at the past is, it all starts to feel a bit superficial and vaguely monotonous as Barry gets into scrape after scrape but always escapes with a quick line of patter and a smile. As a character, he lacks depth and flavor.”
There’s a Twilight Time Sayonara Bluray arriving within a month or two. Based on a 1954 novel by James Michener, which stemmed from Michener’s experiences during the American occupation of Japan in the mid to late ’40s, Sayonara was an exercise in enlightened liberal portraiture — a tale of racial bigotry and interracial love, and particularly the prevailing attitudes about same during the mid-Eisenhower era. Obviously tame and even a bit so-what-ish in today’s p.c. climate. Plus I’ve never liked Marlon Brando‘s affected, high-pitched Southern accent. And yet — this is very weird — I’ve used his character’s last name, “gruver“, as my email handle for 20 years now. Sayonara was shot in Technirama (large format images created from 35mm film running sideways through the camera). If the new Bluray actually uses the original Technirama materials, it could be something to behold. But there’s no changing the fact that this Joshua Logan drama is slow, talky and a little too preachy. Franz Waxman‘s score is probably the single best element.
There’s a certain kind of Hollywood journalist who gets very, very excited by big box-office earnings. You can almost hear the panting as the probable first-weekend earnings, per-screen averages and total domestic grosses are reported. You could be forgiven, in fact, for presuming that the author owns stock in the distribution company behind the hit-to-be, and that a fat dividend check will soon be deposited in his/her account. If you’re that kind of trade reporter or tabulator, the projected earnings for Andres Muschietti and Stephen King‘s It — a first-weekend haul of at least $50 million, according to tracking — will do the trick.
Another way to feel the excitement is to feign indifference to grosses and just concentrate on the film, as I was doing a few months ago, and ask whether director Andres “Andy” Muschietti would deliver the same kind of carefully measured, less-is-more chills that Mama, his last film, had in spades.
Posted on 5.11.17: “Yes, it looks like a retread, a Stand By Me ensemble threatened by a demonic Clarabelle. But something tells me that It (9.8.17, Warner Bros., New Line) may be up to something good. I’m basing this suspicion partly on the last two-thirds of the new trailer, and partly on the fact that it might be Son of Mama. Or more preciselt Son of Mama meets Stephen King.
More than a few writers and publications have posted articles about the 40th anniversary of Elvis Presley‘s death (8.16.77). Of all the Presley milestones worth pondering, the least is surely the poor man’s death from the combination of an enlarged heart and having 14 drugs in his system. Want a great Elvis anniversary? How about September 9th, or the 1956 date of Presley’s first performance on The Ed Sullivan Show — a telecast seen by 60 million viewers or 82.6% of the TV audience. Or July 5th, the day in 1954 when Presley and Sun Records honcho Sam Phillips, after some false starts, happened upon the right Elvis sound — quasi-rockabilly by way of white channeling of what was then regarded as “black” music, but with a frisky, jumpin’-and-shufflin’ tempo. Or simply EP’s birthday — 1.8.35. Two days ago Variety‘s Joe Leydonlisted Presley’s “10 Greatest Films.” First of all Presley never made any films that could be called “great.” But the best of the bunch were obviously King Creole, Flaming Star, Jailhouse Rock, Loving You, Love Me Tender and Wild in the Country. I’m not counting the concert films, but feel free.
“China’s new favorite action hero single-handedly routs pirates off the African coast in undersea combat. He wakes up fit to fight after nearly dying from a flesh-eating plague. He wields guns galore, poison arrows and a tank to wipe out the mercenaries led by the villainous Big Daddy, a swaggering, sneering American soldier of fortune. But in the end, what saves the hero of Wolf Warrior 2, China’s most popular movie ever, is a Chinese flag wrapped around his arm.” — from Chris Buckley‘s 8.16 N.Y. Times story, “In China, an Action Hero Beats Box Office Records (and Arrogant Westerners).”
High-testosterone action garbage cinema by any other name…later.
“As of last Wednesday, Wolf Warrior 2 had earned $722 million in ticket sales in three weeks, easily surpassing The Mermaid, a romantic fantasy released last year, as the top-grossing film of all time in China.
“The success of the two-hour film, featuring a red-tinged Rambo named Leng Feng, is being seen in China as a pointer to the national mood after almost five years under Xi Jinping, the president. Mr. Xi has promoted a spirit of hawkish patriotism and warned that Western forces want to bully China into submission.
“’Whoever offends the Chinese will be wiped out no matter how far away,’ goes an ancient phrase used to promote Leng Feng in two movies so far.”
Sony’s forthcoming Ultra HD Bluray of David Lean’s The Bridge on the River Kwai may be the very first instance of a classic-era Hollywood Oscar-winner being released in 4K. It’s due on 10.3.17. A few more 4K releases in this vein and I might actually spring for a 4K Bluray player. Yes, I purchased a very good-looking Ultra HD streaming version of Kwai three or four months ago, but streaming, I’m told, doesn’t deliver a true 4K image.
“The only other over-90 fellow I’ve spoken to who has the same classy manner and mental acuity is Norman Lloyd, whom I first interviewed in ’05 and who’s now 101.
Of the 13 likely Best Picture contenders on HE’s Oscar Spitball chart, I’ve only seen four — Dunkirk, Call Me By Your Name, War For The Planet of the Apes and Get Out. But I’ve read scripts or heard enough about the other nine to know they’ll be in the mix, almost for sure. The ones closer to the the top look stronger, of course, but you knew that. Who knows how things’ll shake out four and five months hence, but it’s these 13, trust me. If I’m missing a title or two…naah, this is it.
Dunkirk (the only one of the exalted thirteen that isn’t a personal journey tale) is ranked first because everyone’s seen it and unanimously agrees it’s a Best Picture contender. Call Me By Your Name is an easy inclusion — has been since last January’s Sundance Film Festival debut. I’ve seen 10 or 12 minutes of Downsizing and read a draft of the script — it’s in there. Sally Hawkins‘ wordless performance in Guillermo del Toro‘s The Shape of Water is a Best Actress lock, but I’m also 85% persuaded that it’s GDT’s personal best since Pan’s Labrynth, and Lord knows he’s due. I’ve read Dan Gilroy‘s Roman Israel, Esq., and it’s fair to call it a moral-ethical thing along the lines of Sidney Lumet and David Mamet‘s The Verdict.
The Papers is a smart, high-toned, well-textured historical drama with the Spielberg stamp — no denying it. We know that films by Paul Thomas Anderson have rarely kowtowed to Oscar-season criteria, but it’s a likely keeper on the strength of containing Daniel Day Lewis‘s (possibly) final performance. Last March’s Cinemacon preview convinced me that The Greatest Showman will be a Best Picture contender; ditto Battle of the Sexes and Three Billboards Outside Ebbing, Missouri — two personal journey sagas (both distributed by Fox Searchlight) that will most likely stick to the ribs. War For The Planet of the Apes is a flat-out masterpiece of its kind. Many have lamented the over-praising of Get Out, but there’s a critical contingent that won’t take the hint and back off. (Somewhere John Carpenter is shaking his head and grinning.)
This is it, time is nigh: Geremy Jasper‘s Patti Cakes opens three days hence, or the evening of Thursday, 8.17. There’s no way this film is a letdown or shortfaller, and yet so far 40% of the Rotten Tomatoes and Metacritic responses have been thumbs down. Why? Because it’s a familiar underdog-tryin’-to-make-it tale, and injected with the same kind of formulaic uplift enzymes that went into Rocky, Hustle & Flow and 8 Mile. But it doesn’t matter because the spirit is there, and because the culture needs one of these films every so often so why bitch about it? And because Danielle McDonald (i.e. Jumbo) is the shit.
Yorgos Lanthimos‘s The Killing of a Sacred Deer (A24, 11.17) “was lightly booed when it finished screening in Cannes this morning, and with ample justification. It’s a cold, odious and deeply repellent film. It’s the kind of thing that only Lanthimos fans could like, and even then it wouldn’t be easy. I wouldn’t wish this slog of a film upon my worst enemy.
“Deer begins with a certain robotic intrigue that slowly simmers and darkens. It’s basically about the lives of heart surgeon Steven Murphy (Colin Farrell) and wife Ana (Nicole Kidman) along with their two kids, Kim (Raffey Cassidy) and Bob (Sunny Suljic), being upended by Martin (Barry Keoghan), a teenager whose obsession with avenging his father’s death, which was caused by an operating-table error on Murphy’s part.
“The more Martin gets his hooks into Murphy the darker and weirder things get, but it’s something you have to force yourself to stay with in the final lap. I stuck it out, but I wouldn’t see The Killing of a Sacred Deer a second time with a knife at my back.
“To gauge the malevolence of this enterprise, look no further than the casting of the Irish-born Keoghan as Martin.
“Visually speaking Keoghan is an unpleasant guy to hang with. I’m sorry but it’s true. He exudes creepy by just walking into a room. He has evil wolf-like eyes and one of those ridiculous bee-stung noses, bulbous and swollen like something drawn by R. Crumb, the kind of Beagle Boy dog nose that used to scream “low rent” before common, coarse features became a kind of hip thing among 21st Century casting directors.
More than a few writers and publications have posted articles about the 40th anniversary of 
