Jeffrey Wells

Posted earlier today by Paul Schrader. Here’s hoping the Sight & Sound Stalinists see it…

She is, however, echoing the views of younger none-too-brights who don’t know much about Leonard Bernstein and who resent biopics that don’t adhere to the standard approach. And this suggests that your SAG-AFTRA dummies may be voting for more conventional fare.

If you’re unfortunately tethered to an unhappy and dysfunctional family and can barely stand your siblings during holiday gatherings, you can at least take comfort in the fact that the battling O’Neals were always worse off.

The father of all this misery, of course, was the late Ryan O’Neal, who apparently insisted on disliking his children, never apologizing and blowing them off repeatedly.

Posted early today by the N.Y. Post’s Dana Kennedy:

Respect and praise for the late Tom Smothers, whose provocative views and attitudes in the late ‘60s made The Smothers Brothers Comedy Hour, which aired on CBS for two years and two months (February ‘67 to April ‘69), the hippest mainstream show on television.

If you were youngish and dropping acid, listening to progressive rock (Beatles, Jimi Hendrix, The Who), loving films like The Graduate, Bonnie and Clyde and The President’s Analyst and generally hating the Vietnam War, you almost certainly watched this intensely spiritual (in a Nehru jacket sense of the term), anti-establishment show on a fairly regular and reverent basis.

CBS finally cancelled the Smothers Comedy Hour over regional complaints that it had pushed the counter-culture envelope too far.

Tom has passed from cancer at age 86.

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Is there any way to say that I’m not especially interested in submitting to The Color Purple without sounding like a shitty, closed-off person?

The answer is probably “no”. And so most critics have decided to submit and “enjoy” and just, you know, roll with it. Simpler that way.

I know myself and my cinematic standards, and I can always sense or intuit that a certain film will almost certainly be, for me, a very difficult watch.

Honestly? I didn’t even like the 38-year-old Steven Spielberg version, which many critics have said is allegedly superior to the Blitz Bazawule newbie.

Posted on 3.7.08:

[Posted on 3.26.21]

Just so we’re clear, Carl Reiner‘s Where’s Poppa? and Peter Yates‘ The Hot Rock delivered the one-two punch that made George Segal into a marquee brand.

Segal was a respected, well-liked, plugging-away actor throughout the ’60s, and he definitely elevated his stock rating with his lead performance in Irvin Kershner‘s Loving (’70 — 3.4.70).

But Reiner-Yates added the boldface, above-the-title stardom factor to Segal’s guilt-ridden, self-flagellating, Jewish-guy thing, and he was off to the races.

Poppa (a cult film, not a hit) was released on 11.10.70, and The Hot Rock (a silly ensemble caper comedy for guys) arrived on 1.26.72 or 14 months later.

Pre-Poppa and post-Hot Rock Segal were entirely different entities.

With these two in the bag, Segal landed the titular role in Paul Mazursky‘s Blume in Love (6.17.73), and thereafter he wasn’t just a star but a complex ’70s soul man — the highest rung of the realm.

And then, 14 months after Blume, came Segal’s Bill Denny in California Split (8.7.74) — another grand-slammer.

And then God lost interest and Segal’s hot streak ended, just like that. Segal kept working for another 40 years after that, and good for his spirit and tenacity. But what a rude jolt.

1970 through ‘74: “You’re finally really hot, George…you’re totally cool and everyone digs you.” 1975 and onward: “Okay, you’re still good but time to cool things down.”

I’m truly lucky to have a strong constitution and therefore good health. And I absolutely love doing the column and living this rat-a-tat life on a day-to-day basis, but the best part of my journalistic hot–shot life is over. 1991 to 2019 — 28 years when things were pretty good and often delicious and sometimes wonderful. I’m simply too poor these days. Savoring the joys and adventures of yore is out of reach —that’s the long and the short of it.

Lee Sun-kyun, the popular 48-year-old South Korean actor who played the wealthy dad in Parasite (i.e., the aloof fellow who fired the long-serving maid who later knocked on the front door during the rainstorm, etc.), has apparently offed himself. Drug use apparently had something to do with this tragedy. Very sorry for all concerned.

If you know George Orwell’s “Nineteen Eighty–Four”, you surely know the sinister character of “O’Brien,” a duplicitous double agent who pretends to be Winston Smith’s friend but is actually a member of the Thought Police. OBrien’s goal is to seek out and persecute thought criminals.

I’m not saying David Poland is a manifestation of a woke O’Brien but he is unmistakably projecting a false flag narrative when he posts bullshit like the tweets below. Poland is either completely self-deluding, which doesn’t square with the fact that he’s very sharp and socially aware, or he is simply an agent of smoke and propaganda who is spewing this crap in order to politically protect himself.

The shithead critics who’ve pissed all over George Clooney‘s The Boys in the Boat — easily his best directed film since Good Night and Good Luck — have been themselves pissed on by Joe and Jane Popcorn.

Good for this — Clooney’s underdog-vs.-overdog Olympic sports film is familiar but elegant — a confident effort that believes in itself and presents grace and simplicity for the virtues they’ve always been.

The difference is that critics are hung up on racial signage (i.e., the woke comintern has instructed them to regard any all-white, non-diverse movie that isn’t about building the A-bomb…they’ve been ordered to regard such films askance) and Joe and Jane simply aren’t distracted by same…they’re just watching the movie and going “hmm, yeah, pretty good.”