As I understand it Nikki Finke‘s latest eruption about being “locked out” had something to do with Deadline management (i.e., owner Jay Penske) having just installed a new editing system by which Finke would be able to post and edit her own material (i.e., mostly box-office reports) but not reports by other Deadline contributors, despite the site’s “About Us” page stating that Finke’s title is General Manager and Editor in Chief. (The site is primarily edited by Patrick Hipes, Denise Petski and Erik Pedersen.) It also has something to do with Finke having apparently made a technical error in posting a story earlier today about ex-Warner Bros. honcho Jeff Robinov hooking up with Sony, Dune Capital Management and GK Films. I’m also told her Penske Media contract, which runs until June 2016, doesn’t allow her to start a competitive news site, although Finke is apparently otherwise persuaded. “I am building out NikkiFinke.com and will unveil it right after the new year,” she recently tweeted.

Critic, essayist and screenwriter F.X. Feeney, renowned for his brilliant perceptions and occasional big-hearted essays on behalf of disputed films that less engaged critics should (he feels) make more of an effort to get, has riffed on Ridley Scott and Cormac McCarthy‘s The Counselor. The piece appears in a N.Y. Times comments section following Manohla Dargis‘s positive 10.24 review.

“The Counselor is a superb movie, and how gratifying to find myself in agreement with my pal Ms. Dargis! For I’m otherwise puzzled that so many of my fellow critics are dumping on it. One colleague even cracked, ‘Too many words and not enough plot.’

“The words are there like music — it’s a spoken musical. The submerged ‘plot’, the intricate maze of treacheries happening offstage [that prey] upon the nameless hero, are not being denied us as story points. They’re being held at horizon distance so that we can concentrate, as [Michael Fassbender‘s Counselor] must, on the tragic recognition forced upon him by choices he made well before we came upon him.

“There are a lot of other movies that give us the beat-to-beat tick-tock on drug deals, cartels and treacheries, and disappearances in Juarez. Those are thrillers. Happy endings are part of their contract with us, and [are] essentially false. [Counselor screenwriter] Cormac McCarthy is not out to thrill but take us (and himself) to a place both inevitable and surprising because Fate is in play and will not be cheated. Ridley Scott has the courage to get in the game with him.

When I first saw Nebraska in Cannes I heard Mark Orton‘s folksy, laid-back, quietly moving score, but for whatever reason it didn’t stick to my soul. Then I saw Alexander Payne‘s film a second time on the Paramount lot and wham, it stuck. What got me was the main theme, which is called “Their Pie” (and which is contained in two tracks on the Nebraska soundtrack album, which streets on 11.19). Here’s the opener and the closer. Somehow the music expresses what the film is about better than the film. (Or just as eloquently.) I hear it and somehow Bruce Dern‘s performances and the black-and-white photography and the pickup-truck sequence at the end….it all comes together. You can’t listen to this track and not go “okay, right…I get it.”

I’m presuming that these GQ photos of Blue Is The Warmest Color‘s Adele Exarchpoulos vaguely allude to Tom O’Neil‘s longstanding suspicion that aging male horndog Academy members occasionally like to nominate at least one or two alluring breeding-age (i.e., under 40) females for Best Actress. That’s the legend, at least. A tedious and sexist theory, of course, but with everyone dismissing the 19 year-old Exarchopoulos as an unlikely nominee due to her being relatively unknown (and because IFC Films won’t spend diddly-squat on her campaign), I’ll take any advantage I can grab. Why am I so interested? Because Hollywood Elsewhere has been Ground Zero for the pro-Exarchopoulos forces since Cannes, and I’m in this for the long haul.

Take no notice of The Counselor‘s 34% Rotten Tomatoes rating. It simply means that a lot of reviewers found the movie unlikable or unpleasant. Or they found it too scary to handle — they had to push it away in order to go on living their lives. But shame on those reviewers who are calling it a bad or poorly made film, or that “everyone’s speech is awash in gaudy psycho-blather and Yoda-like observations,” which is blind bullshit. Or that “you can’t believe a word of it.” Yes, you can. You can believe every word. You simply have to understand and accept that The Counselor is expressing a cold and clear-eyed view of the Mexican cartel drug business with a very blunt and eloquent voice. It is an undistilled visit to McCarthyland, which is to say the bleak moralistic realm of novelist and (in this instance) first-time screenwriter Cormac McCarthy. You can say “wow, that’s one cold and cruel place” and that’s fine, but you cannot call The Counselor a bad or negligible or sloppily made film. I hereby declare these viewpoints anathema and excommunicate.

I intend to visit the site of the 1968 My Lai massacre during next month’s Vietnam visit. I don’t care if the Vidotour guys want to drive me there or not. In fact I wish they wouldn’t. It’s located about 80 kilometers south of Hoi An so I’ll just rent a scooter and drive down myself. “Please help me with a scooter rental agency in Hoi An or Danang,” I’ve just said to the Vidotour guys. “If you don’t want to help me I’ll find one myself — no worries. But you should know I am committed to not spending my time in Vietnam like a typical American tourist. I am not going to allow myself to be insulated from the culture of Vietnam and I’m not going to led around by a tour guide and watched over like I’m seven years old. Thank you but I don’t want to be protected from life in Vietnam. I don’t want to look at it through a thick glass window. I want to step out in it and smell it, taste it, walk through it, be part of it.”

Yesterday morning TheWrap‘s Sharon Waxman ran a piece that implied that the decision to delay George Clooney‘s Monuments Men was as much about getting it right as finishing the special effects in time. “It’s been a bit of a dance,” Clooney told Waxman earlier this month. “We’re trying to do the movie in the vein of war films, but you don’t want it to sound like The Great Escape. Those movies that were done in the ‘50s and ‘60s, they all had their own sort of life. You don’t want to do a replica, you have to do a new version.”

This is roughly the same thing Clooney told me on the Monuments Men set last May (“Monuments Memories“). “The Guns of Navarone doesn’t play so well any more,” Clooney quipped between takes. I wrote that he “was basically saying that if you’re going to make a good World War II film these days, you’ve got to improve upon the old models because they don’t fit the current sensibility.”

Russell Brand is my absolute favorite comedian right now. If only he hadn’t appeared in Forgetting Sarah Marshall, Arthur and Rock of Ages. What bond could have possibly existed between Brand and Katy Perry? I don’t respect Brand’s “don’t vote” attitude either, but the complacent attitude of Brand’s questioner, Jeremy Paxman, is far more problematic. As a Gawker commenter stated, “It’s not people like Brand who don’t vote that are part of the ‘problem’ — it’s assholes like Paxman who refuse to acknowledge the myriad of issues that our current political system has failed to solve” — or even address — “and who are completely unwilling to listen to alternatives who are part of the problem.”

Philomena Spoiler Warnings — proceed at your own risk: In yesterday’s “Feinberg vs. Bejo” piece, I noted that three of Scott Feinberg’s top ranked Best Actress contenders are on the soft side in terms of (a) having been given a really good role to work with and (b) really delivering the goods,” and that one of these is Philomena‘s Judi Dench. I characterized her performance as “spirited older lady behavior and dialogue — nothing that stupendous.”

A film critic colleague responded last night as follows: “I have to say I think you’re dead wrong [about Dench in Philomena]. For me, it’s maybe the greatest performance of her career, and I’d be shocked if she isn’t nominated. The Academy has nominated (heck, even awarded her) for much lesser work.”

Wells: “What Dench is doing in this film is boilerplate ‘older uneducated lady from the provinces’ schtick.”

Over the years Oliver Stone and I have corresponded every so often between running into each other at press events and whatnot. The other day he wrote to remind me about the Bluray release of his Untold History of the United States, which came out on 10.15 at Amazon, Costco, Target etc. All 12 hours plus two unaired chapters. I wrote him back as follows:

Who cares if Blue is the Warmest Color director Abdellatif Kechiche has been verbally scrapping with star Lea Seydoux, mostly recently in the form of an op-ed accusing Seydoux of having slandered him? “If my film had not been rewarded at Cannes,” Kechiche writes, “I would be a destroyed director today — a dead man, as they say.” And so what? All that matters are the performances that Kechiche got out of Seydoux and costar Adele Exarchopoulos, and the obvious fact that Blue is a touching, masterful work — an immersive film about falling in and out of love that anyone who’s ever been there can relate to in spades.

In an analysis piece called “Why Are Contenders Dropping Like Flies This Awards Season?,” The Hollywood Reporter‘s Scott Feinberg basically says that 2013’s Oscar competition is really tough. He!s saying that producers and filmmakers who are even a little bit uncertain about their chances are saying “eff it…let’s avoid the grief and the expense by opening next year.”

But in summarizing the Best Actress contenders with the greatest prospects, Feinberg ignores one of the absolute best female performances of the year — Berenice Bejo in Asghar Farhadi‘s The Past.

This is a bit odd given that three of Feinberg’s top ranked Best Actress contenders are on the soft side in terms of (a) having been given a really good role to work with and (b) really delivering the goods. I’m talking about Labor Day‘s Kate Winslet (forget it — not her year), Philomena‘s Judi Dench (spirited older lady behavior and dialogue — nothing that stupendous) and Saving Mr. Banks‘ Emma Thompson (a less-than-transporting portrait of a clenched, spinterish, fairly joyless British woman in a tweed suit). Osage County‘s Meryl Streep, Blue Jasmine‘s Cate Blanchett and Gravity‘s Sandra Bullock are okay, but anyone who says “there probably won’t even be room” for Blue Is The Warmest Color‘s Adele Exarchopoulos is committing a great sin in the eyes of the Movie Godz.