This morning I happened to watch this beginning-to-end capturing of the Cannes Film Festival press conference for Olivier Assayas‘ Personal Shopper, and realized for the first time that I was given a little camera time when I asked my question about 6 and 1/2 minutes in. IFC Films hasn’t announced a domestic release date. The ghost thriller won’t open in France until mid-October.

Gary Ross‘s Free State of Jones (STX, 6.24) opens in two and a half weeks, and yet STX apparently hasn’t shown it to anyone of note. Well, they had their press junket in early May (5.11 to be precise) but many of the in-the-loop media types who usually get a peek at films three or four weeks from release haven’t seen this puppy. Or so I’ve been told. Which means that STX has determined that (a) a word-of-mouth boost isn’t in the cards and (b) they’ll get a bigger box-office opening if they just rely on trailers, ads (print, online) and social media effusions. If anyone has seen it, I’d love to read a three- or four-paragraph assessment. Repeating: this Civil War-era film is selling more or less the same thing as Nate Parker‘s The Birth of a Nation — the saga of a revolt against the Confederates over slavery, except that Jones, to go by the trailer, delivers more in the way of kick-ass battle scenes than Parker’s film.

My spirits are sinking but I’m a realist. I know Bernie isn’t going to make it tomorrow. I know he’ll probably wind up three to four points behind Hillary at the end of the day. I am nonetheless a registered Democrat who is eligible to vote (as it says right here) in the 6.7.16 Presidential Primary Election at West Hollywood Park (647 No. San Vicente Blvd., West Hollywood, CA 90069). I’m voting for Bernie regardless of likely outcome because you don’t win a prize if your candidate wins. You wouldn’t believe how many tens of thousands of idiots don’t vote because they’ve calculated that their candidate will lose so why bother?

Yesterday President Bill Clinton told jeering Bernie Sanders supporters at a campaign rally in Boyle Heights that they would be “toast” on Tuesday. “I don’t want to pick a fight but if I were them I’d be screaming, too, ’cause if you figured this out, they’re toast for Election Day,” Clinton said. “So have a good time.”

“The reason they are screaming is ’cause,…here’s the point, she got 73% of the vote in South Carolina with the white working class, as well as with African-Americans because they know what she did there,” Clinton explained.

“You know the only thing that bothers me about it is? They say that everybody that disagrees with them is part of some nefarious establishment. It’s a pretty big establishment. It includes the United Farm Workers, because she voted for immigration reform when he didn’t.

“They can shout all they want, those are the facts, and she has bent over backwards to be positive in this campaign.”

It took me three and a half years to watch it, but Olive Films’ Bluray of Sidney Lumet‘s Long Day’s Journey Into Night (’62) is 85% to 90% satisfying from a purely visual standpoint. I only saw about 40 minutes’ worth but it’s clean and crisp enough. It could look a little sharper and more refined here and there, but it’s certainly not a “problem.” I’m looking forward to watching the whole thing next weekend. I was cupping my ears to hear certain portions of the dialogue when I caught the still-running Broadway version in early May. It’s a pleasure to not have to do that in my living room.

“There is a major problem when the men and women at 20th Century Fox think that a super-villain holding a bunch of flowers is the way to market a film. There is no context in the ad, just a bunch of flowers. The fact that no one flagged this is offensive and frankly, stupid. The geniuses behind this, and I use that term lightly, need to to take a long hard look at the mirror and see how they are contributing to society. Imagine if it were a basket of fruit or a pineapple or a handful of green grapes being held by a hetero? The outcry would be enormous. So let’s right this wrong. 20th Century Fox, since you can’t manage to show sufficient respect for the floral industry, how about you at least replace your ad?” — Rose McGowan.

Ari Issler and Ben Snyder‘s 11:55, which debuts tonight at the L.A. Film Festival, is a straight, steady, well-performed, modern-day “reimagining”** of Fred Zinneman‘s High Noon with an entirely decent script, and as such it’s not half bad. And it has an ending that differs from the 1952 film in a good way — a finale that says something about escaping the cycles of violence that I found compelling, well-grounded and true to itself.

The downside (and I wouldn’t call it a huge one) is that a solemn, well-crafted homage to a classic film can only register in the final analysis as a solemn, well-crafted homage to a classic film.

The ending of 11.55, as noted, adheres to its own ethos and milieu, but the rest of it (okay, 80% of it) is an almost scene-for-scene revisiting of a film that arose out of the terror and cowardice of Hollywood’s red-scare era. 11:55 draws from its own social undercurrents, but it basically feels like an exercise. This isn’t to say I had a problem with it. I didn’t. I was moderately pleased by it, and never angered or even irritated. You just can’t go overly nuts about a film of this sort.

I’ve said before that Chris Nolan has to go back to making smart, subversive, smallish movies but I guess that won’t happen. He has an empire to maintain and so he has to shoot big, bigger, BIGGER-ER movies from now until the end of the string. That said, I felt an instant surge of excitement when I saw this photo of a helicopter-mounted IMAX camera being used for a shot in Nolan’s Dunkirk, which Warner Bros. will open on 7.21.17. At the same time the below video of a recently performed Fast 8 stunt in Cleveland fills me with revulsion. There’s no doubt in my mind that this movie will (a) blow chunks on the HE scale, (b) be adored by Trump voters and (c) make hundreds of millions worldwide.

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There’s something about these tracks (which I didn’t arrange, and which includes the bitter, craggy voice of Robert Ryan in Billy Budd) in this particular order that simultaneously lifts me up and settles me down and seems…I don’t know, seems to open the long-throw cosmic door on some level: This, this and that.

Friend: “That poll you’ve quoted with Bernie is up by 1% is only for all registered voters. Among likely voters (the only truthful way to gauge) he is down by 10 points, far more of a gap than in any other poll (most have him down by 2).” Me: “I prefer to live in my denial balloon until Tuesday evening.” Friend: “It won’t even get to California. She will be declared presumptive nominee when polls close in NJ.”

A 6.3 digital presentation of Woody Allen and Vittorio Storaro‘s Cafe Society at Cine Gear Expo has been described in mouth-watering terms by The Hollywood Reporter‘s Carolyn Giardina.

“Storaro actually arrived hours earlier in the day to make sure the projection was just as he intended,” she writes. “The gorgeous imagery was, uniquely, screened from a 12-bit uncompressed 4K DPX file (rather than a commonly used Digital Cinema Package), playing off a Clipster postproduction system and displayed with a Sony 4K projector — meaning that the Cine Gear presentation of the movie had more resolution and color tonality than today’s most commonly used digital cinema projectors.

“Lensed with Sony’s F65 digital cinematography camera (and lighter F55 for Steadicam work), Café Society was both Storaro and Allen’s first feature-length motion picture shot with a digital camera.