“Seven days may not be enough time to fully assess any new leader, especially in the case of Trump, whose first week was marked by seeming chaos in his efforts to put together an Administration. But what we’ve learned so far about the least-experienced President-elect in history is as troubling and ominous as his critics have feared. The Greeks have a word for the emerging Trump Administration: kakistocracy. The American Heritage Dictionary defines it as a ‘government by the least qualified or most unprincipled citizens.’ Webster’s is simpler: ‘government by the worst people.'” — from recently posted Ryan Lizza column in The New Yorker, “Donald Trump’s First, Alarming Week As President-Elect” (11.16.16).

I blame Jimmy Fallon for this, to some extent. I really do. Fucking Jimmy Fallon. And the older, under-educated black voters who gave Bernie Sanders the back of their hand in the Southern primaries. And the more I think about it, the more I blame Hillary “Apocalypse-bringer” Clinton for being such a lethally non-charismatic candidate and more precisely the jaded and entrenched Democratic National Committee elites, primarily personified by the loathsome Debbie Wasserman Schultz, who worked and schemed so hard against Bernie.

Yesterday I did a phoner with Kevin Costner, who brings a settled, fair-minded authority and decency to his performance as “Al Harrison” in Ted Melfi‘s Hidden Figures (Fox Searchlight, 12.25). There are some older actors who can just walk into a room without saying a word, and right away you relax. Because there’s something square and sensible about them. Costner is definitely one of those guys, and in every one of his Hidden Figures scenes, you know things will be more or less okay. Or that fairness will eventually come to pass.

Kevin Costner as Space Task Group honcho “Al Harrison,” a composite character partly based on the late Robert Gilruth.

Based on Margaret Lee Shetterly‘s same-titled book, Hidden Figures (which everyone likes) is a Kennedy-era tale of three female African-American mathematicians– Taraji P. Henson‘s Katherine Johnson, Octavia Spencer‘s Dorothy Vaughan, Janele Monae‘s Mary Jackson — who earned respect and advancement in the early years of America’s space program. In particular Johnson’s laser-like assessments were key to the success of John Glenn‘s historic 1962 orbital flight.

They all worked under NASA’s Space Task Group, which Harrison, in the realm of the film, the big boss of. And good old Kevin, a slightly bulky, mild-mannered figure in glasses, white dress shirt and skinny tie, is the guy who gives Johnson/Henson a fair shake and a respectful salute. 

The standout moment is when Harrison singlehandedly desegregates the white vs. colored bathroom system at the Space Task Group’s headquarters (which was located in Langley, Virginia) with a sledgehammer or crowbar or something along those lines.

And yet Harrison isn’t presented as some heroic lead-the-charge type. He’s just a pragmatic technician-politician who wants to get the job done fast and accurately, and who therefore respects anyone with the brains and know-how to substantially help in that effort.

Posted five days ago (11.14) on Daily Kos:

In an 11.18 N.Y. Times piece by Ben Kenigsberg (“The Images in Billy Lynn? Razor Sharp. Your Eyes? Bewildered”), high-def pioneer Douglas Trumbull says he was unhappy with the venue for the 120-frame-per-second projection of Billy Lynn during the New York Film Festival. “I was really upset…that it was in a very narrow, small-screen theater,” Trumbull says.

My feelings exactly. “I felt crestfallen when I walked into the almost shoebox-sized AMC Lincoln Square theatre that Billy Lynn was projected in, ” I wrote on 10.15. “It was as if I was sitting in some nondescript megaplex in Tampa or Baton Rouge.”

I remain stunned that the critical elite dismissed Billy Lynn with such uniformity. The Heaven’s Gate-Like rejection of Ang Lee‘s film happened without remorse, without even an expression of mixed feelings. Critics and public alike dumped it like a McDonald’s Big Mac wrapper in a trash bin. For me Billy Lynn‘s HFR format elevated what would have otherwise been just another modest, dialogue-driven, Playhouse 90-styled drama. Is there anyone who found the 120-frame-per-second version at least interesting?

Trying again: at the very least all theatrically-aimed films should be shot in at least a 30 fps format, and all CG fantasy crap should definitely be captured in HFR (60 or even 48 fps would suffice). Action footage is always more mesmerizing if you remove the blur factor.

“I knew that she couldn’t close,” Steve Bannon tells The Hollywood Reporter‘s Michael Wolff, referring to Hillary Clinton. “They out-spent us 10 to one, had 10 times more people and had all the media with them, but I kept saying it doesn’t matter, they got it all wrong, we’ve got this locked.”

Because, as Bannon explains, Donald Trump connected big-time with “people without a college education…high school people…that’s how you win elections.” As in: The under-educated none-too-brights, the ADD crowd, the xenophobes, the macaroni-and-cheese eaters. Look at jowly, unshaven, pot-bellied Bannon — yes, a brilliant, highly-educated Machiavellian schemer par excellence (albeit from Hades), but he looks like an alcoholic who manages an East Tampa trailer park.

With a straight face Bannon describes Donald Trump as “the greatest orator since William Jennings Bryan, coupled with an economic populist message and two political parties that are so owned by the donors that they don’t speak to their audience. But he speaks in a non-political vernacular, he communicates with these people in a very visceral way. Nobody in the Democratic party listened to his speeches, so they had no idea he was delivering such a compelling and powerful economic message. He shows up 3.5 hours late in Michigan at 1 in the morning and has 35,000 people waiting in the cold. When they got [Clinton] off the donor circuit she went to Temple University and they drew 300 or 400 kids.”

Perhaps the key image or metaphor of Trump’s message to the portly masses was that moment in Richard Donner‘s Superman (’78) when Chris Reeve‘s Man of Steel, howling with grief over the death of Margot Kidder‘s Lois Lane, zooms into orbit and reverses the west-to-east spinning of the globe and in so doing reverses time itself, and this allowing him to save Lane while still alive.

“We sir, we are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, out children, our parents or defend us and uphold our inalienable rights, sir. But we truly hope that this show has inspired you to uphold our American values and to work on behalf of all of us. All of us. We truly thank you for sharing in this show, this wonderful American story told by a diverse group of men, women, creeds and orientations, and we truly hope that you heard our message sir, because you all represent all of us. We don’t have to fight one another. The beautiful part of this country is…we don’t have to agree, but we gotta live here, baby, and share with one another.”

Manchester By The Sea opened today in New York and Los Angeles. When was the last time that a Rotten Tomatoes and Metacritic aggregate rating for a film was averaging around 97%? You know what I hate? When some ticket-buyer goes to see a much-praised film on opening night and tweets “this is what they were down on their knees about? What were critics thinking? Overpraised, disappointing.” Shut up. Sometimes the worst thing about living a life of movie-worship is hearing from Regular Joes who just aren’t smart or sensitive enough to get it — the megaplex version of Trump voters.

These guys are outliers, fanatics, hardcore hammers…Himmler, Goering, Hess. Colin Powell reportedly called Trump’s new national security adviser Lt. Gen. Micheal T. Flynn “rightwing nutty.” Oh, for the occasionally moderate, semi-sane approach of the George Bush team!

Deadline‘s Brian Brooks moderated a critics panel this afternoon at The Porch (“A quirky, quaint hangout with comfy porch seating and a varied selection of artisanal beers & wines”). The Key West Film Festival panelists included Indiewire‘s Eric Kohn, Rolling Stone‘s David Fear, MTV News‘ Amy Nicholson, Wall Street Journal contributor Steve Dollar and a young guy I don’t know who praised A Bigger Splash. (Yes!) Asked to name their favorite films of the year, Kohn mentioned Pablo Larrain‘s Neruda, Nicholson enthused about Vikram Gandhi‘s Barry (yes again!) and Fear all but dropped to his knees in praise of Barry Jenkins‘ Moonlight, a strong film that has been nearly suffocated with overpraise. (Nicholson mentioned that she’s heard a “scary” story about moviegoers in Dallas laughing during a second-act sex scene.) The p.a. system wasn’t loud enough, and there was a lot of competition from crowing roosters, overhead jets, sirens, rumbling motorcycles, gear-grinding buses and drunks singing in a bar across the street. Complimentary key lime mini-pies were served on paper plates.

Today’s film critic footwear included a pair of Merrell’s comfort shoes, white sneakers without laces, gray cross-training shoes with lime green accents and a pair of black Converse lace-ups. No Bruno Magli’s, no Italian suede, no saddle shoes, no cowboy boots, no canary yellow sneakers…nothing exceptional! 

(l. to r.) Steve Dollar, Amy Nicholson, David Fear, Eric Kohn.

Statement from David O. Russell about Past Forward, a 12-minute monochrome “surreal dreamscape” short that he directed: “It was completely what I wanted to do. It was so open that I didn’t think it was going to happen. Because nobody got paid or anything. It wasn’t like that. It was to do it just to do it. I almost think the whole thing is almost a premonition of how the country feels right now to me. Because the movies that I love, the dreams that I love, have a feeling of uncertainty in them. You can still find love or locate yourself in them, but they’re tinged with a feeling of uncertainty.” Allison Williams, Freida Pinto and Kuoth Wiel as the same woman “trapped in a suspenseful dream.” Costarring John Krasinski (who needs to lose weight), Ben-Hur‘s Jack Huston, Connie Britton, Paula Patton, Sacha Baron Cohen, etc.

By the measure of Hollywood’s award season, Santa Barbara Film Festival director Roger Durling is a Nick the Greek-like figure. Three things happen when Durling “bets” on this or that Oscar contender by booking them for a special SBIFF tribute. One, Santa Barbara-residing Academy members are at least semi-inclined to vote for Durling’s favorites. Two, award-season blogaroos take notice, post coverage of said tributes and weight their predictions accordingly. And three, SBIFF tributes inject an aura of heft, esteem and good favor.

Ryan Gosling, Emma Stone in Damien Chazelle’s La La Land.

And so La La Land costars Ryan Gosling and Emma Stone are suddenly that much hotter with today’s announcement that they’ll be presented with the SBIFF Outstanding Performers of the Year award on Friday, 2.3.17. Gosling is smooth and bothered and wholly alive in La La Land, but c’mon — we all know that Stone is more likely to win a Best Actress nomination than Gosling is to even be nominated. His performance feels honest and lived-in but Stone pretty much owns Damien Chazelle‘s musical. Charisma, emotion, spirit-lift, strain, heartache.

The 32nd annual Santa Barbara International Film Festival will take place from Wednesday, 2.1 through Saturday, 2.11.