From World of Reel‘s Jordan Ruimy:

The Safdies‘ Uncut Gems
James Gray‘s Ad Astra
Taika Waititi’s Jojo Rabbit
Fernando Meirelles‘ The Pope
Pablo Larrain‘s Ema
Hirokazu Kore-eda‘s The Truth
Bill Condon’s The Good Liar
Noah Baumbach’s Marriage Story
Steven Soderbergh’s The Laundromat
Noah Hawley’s Lucy in the Sky
Bong Joon-Ho’s Parasite
Celine Sciamma’s Portrait of a Lady on Fire
Michael Angeo Covino’s The Climb
Werner Herzog’s Family Romance LLC
Agnes Varda’s Varda by Agnes

I’d be comme ci comme ca if there was an option to retain the old design, but of course there isn’t.

I didn’t see Alejandro Landes‘ Monos (Neon, 9.13) during last January’s Sundance Film Festival, where it won the World Cinema Dramatic Special Jury Award. Right away you’re thinking “okay, this guy has it.” Compositionally, impressionistically. William Golding‘s Lord of the Flies meets jungle-ritual cruelty and perversity. That line of country.

From Keith Uhlich’s Hollywood Reporter review: “The hands of fate have bestowed a raw deal on the young protagonists of Landes’ bleak, rather ghastly Monos.

“Sporting names like Rambo (Sofia Buenaventura), Lobo (Julian Giraldo), Bum Bum (Sneider Castro) and Patagrande (Hannah Montana alum Moises Arias, hard-left-turning into gun-toting psychopathy), these youths and barely-teens are beholden to a mysterious rebel force known only as The Organization, which is conducting terrorist strikes against some ill-defined powers-that-be in South America.

“This President constantly attempts to distract by flame-throwing…by lighting fires around race and ethnicity. How low can he go? He needs to go back from where he came from” — Queens — “and leave that office.”

Kamala Harris is a fully considered, well-measured adult, which President Trump has never been. And a more thoughtful and articulate speaker than he. Which isn’t difficult. And when riled up, she can be just as combative and jabby. Which is good and necessary.

But the tone and timbre of her voice, conversationally or in the delivery of speeches, isn’t especially transporting, much less soothing. Which isn’t a problem for me, but it may be for some.

Who among the current Democratic contenders has the rousing oratorical command that President Obama had? No one, but the best among them — certainly the catchiest phraser and arguably the most eloquent — is Pete Buttigieg.

Put another way, who’s Mr. King Shit in terms of 2019/20 Democratic Presidential campaign funding? Oooh yeah.

“…and the other four are fucked.”

Two nights ago I watched “The Bad Mother,” or the sixth episode of the second season of Big Little Lies. The tension levels are definitely intensifying. The critical setting was a courtroom dispute in which Meryl Streep‘s Mary Louise Wright, mother of the late Perry Wright (Alexander Skarsgård), is hoping to gain custody of the two children of Nicole Kidman‘s Celeste Wright, whose erratic, heeby-jeeby behavior (principally characterized by her guilt, Ambien dosage and sexual promiscuity) is cause for basic concern.

The best moment happened when Streep’s attorney Ira Faber (Dennis O’Hare) interrogated Celeste with one zinger question after another.

The season finale (“I Want To Know”, #7), in which Kidman will interrogate Streep in some kind of go-for-broke fashion, happens this Sunday.

The “flyboard”, a gas-powered jetpack/hoverboard, was invented by French water-craft rider Franky Zapata, founder of Zapata racing. It can stay in the air for 10 minutes. Probably not cost effective as we speak, and wouldn’t a platoon of flying soldiers be easy to pick off by snipers?

On 7.3 I assessed the Baz Luhrmann / Elvis Presley casting situation, as reported by Deadline‘s Mike Fleming. Four contenders had recently screen-tested for the Presley role in Luhrmann‘s biopic about the relationship between the iconic rock star and Colonel Tom Parker (Tom Hanks), and it was my view that three of them — Ansel Elgort, Miles Teller and Harry Styles — weren’t right.

My judgment was that 28 year-old Austin Butler (The Dead Don’t Die, the grubby and psychotic Tex Watson in Quentin Tarantino’s Once Upon a Time In Hollywood) seemed “the most interesting possibility among the four.” Today Fleming reported that Luhrmann had agreed and gone with Butler.

I wish I had a quarter for every time I’ve written “they’d never make this film today,” but there’s no present-tense director or producer who would or could make anything like Richard Lester‘s The Three Musketeers (’73) and The Four Musketeers (’74), which I regard as a single entity. Nobody.

That ace-level cast (Michael York, Oliver Reed, Frank Finlay, Richard Chamberlain, Charlton Heston, Geraldine Chaplin, Faye Dunaway, Christopher Lee, Simon Ward, Raquel Welch) plus that jaunty, dryly satirical Richard Lester flavoring mixed with David Watkin‘s period-appropriate cinematography, Michel Legrand‘s score plus the superb sets and costumes and half-realistic, half-slapstick fight choreography.

Actor/Comedian Greg Proops on The Four Musketeers, posted by FilmStruck on 9.5.17:

I was speaking last Friday to a critic acquaintance about The Lion King, and she mentioned something that struck me. She said that there was something dead and soulless in the eyes of certain beasts. I hadn’t been sufficiently interested to catch last week’s all-media screening, but the dead-eye thing woke me. “Really?” I said. “Now I want to see it!”

This view has been widely shared, particularly in the cases of Simba and Mufasa. Time Out‘s Joshua Rothkopf said that the Lion King characters are “akin to stuffed trophies mounted on the wall…they’re lifelike, yes, but somehow not alive.” Forbes‘ Scott Mendelson observed that “the ‘animals’ can’t act, and they sure as heck can’t emote.”

A few weeks ago Martin Scorsese expressed concern about the digital “dead eye” syndrome in the matter of The Irishman, which uses extensive CG to de-age Robert De Niro and other significant characters.

Scorsese’s view were shared in a 5.29 Guardian piece by Caspar Salmon: “[Scorsese] said that there was a problem with keeping his actors’ eyes expressive, adding: ‘Does [the technique] change the eyes at all? If that’s the case, what was in the eyes that I liked? Was it intensity? Was it gravitas? Was it threat? And then how do we get it back? I don’t know.”

Where is the HE community on this aspect? I still haven’t seen it.

Richard Beymer couldn’t and so Jimmy Bryant dubbed him. I wasn’t sure Elgort really had the pipes to handle the upper registers, but he sings with confidence and range.

Rude, crude…insulting people on Twitter
Sees everything as transactional
Has no loyalty but to himself and family
Seems pathological in his desire to undo what Obama did
Doesn’t speak about many people with respect
Obama called him a “bullshitter”…check
Sees everything in terms of the deal
Uses the phony schtick of a salesperson, a tendency to exaggerate and lie
Antagonizes almost everyone
Only seems to care about his base
He really hasn’t accomplished anything
A monkey could have passed tax cuts with a Republican congress
Doesn’t read, isn’t wise, speaks like a child
Antagonizes allies; denigrates international organizations
Doesn’t think things through
Unpresidential in use of Twitter and many other ways
Cruel
Goes back on his word, can’t be trusted
Simplistic
Constantly revolving door among staffers
I dislike the divisions he has caused or hasn’t helped