‘This is the first time the president attended this dinner in 6 years … We had a horrible plague, followed by 2 years of COVID’ — Pres. Biden begins his speech by firing shots at Donald Trump 👀 #WHCD pic.twitter.com/Sr8CpSghoY

— NowThis (@nowthisnews) May 1, 2022

We all clean house every so often, but (and I know this is familiar to every older person in this racket) it’s very emotionally difficult to toss or put aside articles from 25 and 30 years ago. You think back to the blood, sweat and tears that went into each one, and the feeling swells. A little eye moisture. We all have to refresh and let the past go, but it hurts so much.

So the Being Mortal production shutdown happened a week and a half ago and Bill Murray (moody rambunctious boomer offender) and Keke Palmer (“Millennial Diva”) are still trying to work things out? They can’t come to a rapprochement after ten effing days? Obviously one of them has an attitude and an arched back. Thoughts?

HE to Robespierre Woke Comintern: Please consider HE’s solemn, bended-knee plea that the international woke terror brigade not cancel or otherwise severely punish Mickey Rourke for having earlier this month praised director Roman Polanski from the set of The Palace, which may (rushed as it sounds) debut at the ‘22 Venice Film Festival.

Last night I watched two and a half episodes of The Offer, the Paramount + series about the making of The Godfather. The early reviews had been mostly negative, so I was semi-intrigued by the fact that it seemed fairly competent. Michael Tolkin‘s script struck me as above average. Alas, I began to lose interest during episode #2, and then I started to impatiently fast forward. I was hoping that the Marlon Brando videotape audition sequence would turn up in episode #3, but nope.

And yet — AND YET! — I quickly fell for Matthew Goode‘s portrayal of Robert “The Kid Stays in the Picture” Evans. Having been a moderately close journalist “friend” of Evans in ’95 and ’96 and having spent a lot of time at his French Chateau home on Woodland, I knew the guy pretty well and right away I was nodding appreciatively at Goode’s performance. He nails the murmuring voice, the improvisational smoothitude, the wit, the street cunning.

The last time I was genuinely turned on by a famous-person-impersonation performance was Corey Stoll as Ernest Hemingway in Woody Allen‘s Midnight in Paris (’11).

Why did I lose interest early on? Simple — seething guineas aren’t very interesting.

The New York Italian-American community was pissed and paranoid about Mario Puzo‘s best-selling 1969 novel being made into what they presumed would be a run-of-the-mill gangster film, and for whatever reason nobody (not Evans, not Francis Coppola, not producer Albert Ruddy) was able to sell them on the possibility that The Godfather might become the greatest Italian-American epic ever made, and that it would romanticize Italian-American culture more than anything — a movie that would be much more about family and culture than crime.

The history is the history, but listening over and over to Giovanni Ribisi‘s Joe Colombo, Frank John Hughes‘ Frank Sinatra, Danny Nucci‘s Mario Biaggi and Anthony Skordi‘s Carlo Gambino bitch and moan about “what a disastuh this fuckin’ film will be”….Jesus, guys, give it a rest.

Having hated Dan Fogler for years, I was a wee bit surprised that I liked his performance as Francis Coppola. I was also more or less okay with Miles “don’t be a pervert, man” Teller‘s performance as Ruddy.

Thousands of copies of Roget’s Thesaurus fell off a truck yesterday on a New York-area boulevard. Random witnesses were taken aback, stunned, startled, aghast, stupefied, gobsmacked, thrown for a loop, bewildered, shocked, rattled, dazed, surprised, dumbfounded, blown away, flabbergasted, confounded, astonished, etc.

…happens in supermarket aisles. Second only to showers. My third most productive meditations happen while driving.

Posted on 1.22.22: Set in present-day Bucharest and costarring Maika Monroe (It Follows), Karl Glusman and Burn Gorman, Chloe Okuno and Zack Ford‘s Watcher (IFC Midnight, 6.3) is unquestionably scary and unnerving.

In my view it stops short of elevated horror — it’s more of a low-key, Roman Polanski-level thriller in the vein of Repulsion and The Tenant. First-rate chills and creeps nonetheless.

The Scream-level morons may respond in their usual way, but Watcher is as good as it gets with this kind of palette and approach.