Until proven to be a lucid, smartly-plotted, grade-A film (which it might conceivably be), I’ll be assuming that The Flash (Warner Bros., 6.16) is the same old gotterdamerung, CG-overload D.C. shite…tortured, over-emotive, anguished adolescent stuff.

“My payurants, my payurants…I lost my payurants,” etc.

I was a fanatical admirer of director Andy Muschietti‘s Mama, but I went cold on the guy after seeing his two It films. The return of Michael Keaton‘s Batman / Bruce Wayne holds no allure for me; ditto the return of Michael Shannon‘s General Zod. “Let’s get nuts”…yeah, no thanks.

This longish (over six minutes) recap scene in The Big Sleep explains what’s already happened for those who may be lost or confused. And yes, Phillip Marlowe‘s meeting in the District Attorney’s office obviously fits the very definition of what a good film isn’t supposed to do — i.e., tell rather than show. Which is why it wasn’t included in the final 1946 version.

And yet the general consensus is that The Big Sleep is one of the most convoluted, perplexing, nearly-impossible-to-follow crime films ever made (even co-screenwriter William Faulkner was unsure about who’d done what), so I actually wouldn’t have minded if this scene had been left in.

As Big Sleep aficionados know, the sexually suggestive restaurant scene between Humphrey Bogart and Lauren Bacall (i.e., trading double entendres about horse racing) replaced (a) the District Attorney’s office scene plus (b) Rutledge/Bacall coming to Marlowe’s office a second time.

On the occasion of Al Pacino‘s 83rd birthday, here, in this order, are HE’s top twelve Pacino performances:

(1) Michael Corleone, The Godfather, Part II; (2) Lowell Bergman, The Insider, (3) Tony Montana, Scarface, (4) Michael Corleone, The Godfather, (5) Lt. Vincent Hanna, Heat; (6) Tony D’Amato, Any Given Sunday (the”inches” speech); (7) Frank Keller, Sea of Love; (8) Frank Serpico, Serpico; (9) Sonny Wortzik, Dog Day Afternoon; (10) Jimmy Hoffa, The Irishman; (11) Will Dormer, Insomnia; and (12) Frank Slade, Scent of a Woman (“I’m just gettin’ warmed up!”).

Obviously Pacino’s peak decades were the ’70s and ’90s. He’s so far made only two grade-A 21st Century films, Insomnia and The Irishman.

CNN’s Don Lemon has been axed effective immediately. This was obviously not a good day for this to happen with the competing story of Tucker Carlson‘s departure nipping at Lemon’s heels or vice versa. Two major-media news headliner departures announced within an hour!

There are obviously four women who helped to push Lemon out, either directly or consequentially — (1) Nikki Haley, the 50something Republican presidential candidate whom Lemon claimed was not “in her prime”; (2) Variety‘s Tatiana Siegel, whose 4.5 article reported about the news anchor’s alleged “misogyny at CNN“; (3) Lemon’s CNN co-anchor Kaitlan Collins, who clashed with Lemon over bristly attitudes and diva fits, and (4) White House press secretary Karine Jean-Pierre, who recently refused to be interviewed by Lemon.

When I think fondly of the 2019 films that will endure and grow in esteem as the years fall by…well, we all have our favorites. But in my mind at least and in a perfect world, the films that should have won the Best Picture Oscar are not, no offense, Parasite, which did win, and Once Upon A Time in Hollywood, the first runner-up.

I realize, of course, that almost no HE commenters agree with me, but I still say that the Best Picture Oscar champ should have been Martin Scorsese‘s The Irishman.

Failing that, the most deserving winners could or should have been, in a perfect world, the following: Kent Jones‘ Diane, Robert Eggers‘ The Lighthouse, Lulu Wang‘s The Farewell.

It’s absurd to mention Craig Zahler‘s Dragged Across Concrete in this context, but it’s a truly jarring, trail-blazing film that I’ll never forget. I wanted to forget Parasite after my second viewing — I didn’t dislike it, but I found it underwhelming.

The Best Documentary Oscar should have been won by A.J. Eaton and Cameron Crowe‘s David Crosby: Remember My Name.

Posted on 8.18.20: A couple of decades hence young cineastes will ask their older brethren, “Explain again why a well-made but not especially overwhelming social criticism drama from Bong Joon-ho won the Best Picture Oscar instead of this obviously superior Martin Scorsese gangster epic, especially considering the fact that The Irishman didn’t have anything like that Parasite scene in which a family of con artists welcomes the one person in the world who has a motive to rat them all out, and yet they let her in during a rainstorm while they’re all drunk and dishevelled…why did everyone give that scene a pass again?”