Jeffrey Wells

More anger = greater fear. Simple equation. Jair Bolsonaro, Victor Orban…braggadocio, bluster.

Hollywood Elsewhere hasn’t seen Celine Song’s Past Lives, but many who caught it at Sundance ‘23 are claiming it will be a formidable contender in the forthcoming 2023 Best Picture slug-out. That may be the case (I might love it!) but they’re forgetting one tiny thing. They’re forgetting that A24 has to pay the price for EEAAO — it has to pay for sweeping the table and permanently lowering Oscar property values. It may not be fair or compassionate, but given what’s happened there’s no way Past Lives will take the cake. The name of the game is revenge.

…like the plague.

Ben Affleck’s Air is a solid 8.5 or even a 9 —- just don’t go expecting the world. It’s a modest, well-crafted film about vision and risk and soul and salesmanship, and the best aspect, I feel, is that it doesn’t swing for the fences.

It’s an unpretentious, steady-as-she-goes sports saga that frets about stress and failure and at the same time insists over and over that “if you don’t take a risk you can’t make a gain,” which is precisely what Walter Huston’s chuckling, goat-like prospector said in The Treasure of the Sierra Madre.

In a way Air is just as much of a pikers-strike-it-rich story as John Huston’s 1948 classic was and is, and the stakes are just as life-and-death when you consider what might’ve happened if Nike hadn’t signed Michael Jordan and if Matt Damon’s Sonny Vaccaro and Affleck’s Phil Knight had taken a gut punch instead.

Their down-to-business story is about marketing and branding that wound up on a super-scale, but told with a modest brush. Nothing goofy or slick or wild-ass. It starts out ordinarily or even ho-hummishly, but then it picks up a little steam and then a little more, and then little dabs of feeling are sprinkled into the second act and then spoonfuls of the stuff into the third as it gets better and better and better.

And then the big payoff moment comes, which isn’t as emotional as Jerry Maguire but then how could it be? Air isn’t about wives or girlfriends or kids or dogs…it’s strictly about business and that’s a good enough thing, trust me.

Here’s the thing: Damon’s Vaccaro is a beefalo bordering on a lardbucket, and I was bothered by this at first. But guess what? I stopped thinking about the paunch around the 30-minute mark. By the one-hour mark I’d forgotten about it entirely. This in itself says a lot.

7:55 am update: It’s being said that Viola Davis’s grounded performance as Michael Jordan’s tough negotiating mom, Deloris, is the keeper. She’ll probably be Oscar-nominated, but Damon’s Vaccaro shoulders the weight. He’s playing the poet and the singer and the believer of the piece, and it’s his best performance since…what, the second Bourne film? Or The Informant? And I love how he’s never cowed by Affleck’s Knight, calmly standing his ground, and in fact plays him at the very end. It’s brilliant. And I love Chris Messina’s tough-shithead agent who reps the Jordans and is content to eat alone.

My limited understanding is that Dungeons & Dragons (Paramount, 3.31) is a tank waiting to happen. The reason is obvious — it looks like second-tier throwaway crap and nobody wants to go there. But please try to explain specifically what elements have turned everyone off.

Because they’re all Region 2, which won’t play on my Sony 4K Bluray player.

Certain raving psychos who’ve commented from time to time in this space have insisted that there’s no such thing as Region 2 blockage or non-cooperation on domestic Bluray players. Aahh, but there is.

I’m especially taken with my Region 2 Blurays of A Kind of Loving, Deep End, The Conformist, For Whom The Bell Tolls and Women in Love

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I‘ve always hated guys who wear burgundy or maroon-colored suit jackets. Or burgundy–maroon anything, for that matter.

I’m assuming that the alleged Star Wars: Skeleton Crew gig is a harmless paycheck thing…money to cover expenses while they assemble their next auteur-level annoyance.

Burying visual information in a shroud of unnecessary darkness is not only perverse but diseased. Willfully submitting to this kind of monochrome mud makes no sense, and yet there it is…the only possible rationale for a film-noir lover to buy the new Shout! Factory Bluray of Anatole Litvak’s Sorry, Wrong Number (‘48).

Decades of resentment, irritation, alienation and suppressed rancor fell away today when I paid a visit to my dad’s gravesite. Hillside Cemetery, plot #1522. He’s not actually there but a veteran’s org planted the stone a few weeks after he passed.

I’ve been too critical of him over the years. He was no day at the beach but a decent human being as far as it went. A clever ad man, hard working, witty, thoughtful, well educated, responsible.