...always bothered me. Okay, something very particular. Gallagher was "funny" in a dopey, good-natured, "egoistic drunk guy having fun at a rowdy party" way, but he lacked a hip aesthetic. He lacked thought. He wasn't an iconoclast. There wasn't so much as a tiny salt sprinkle of Lenny Bruce or Richard Pryor or Louis CK or Bill Burr in the man.
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Daniel Kwan and Daniel Scheinert‘s Everything Everywhere All At Once (A24) opened on 3.25.22. It took me nearly six months to finally watch this sucker and get my royal HE hate on — “Frequent Agonies of Everything Everywhere” appeared on 8.6.22. And now, two-thirds of a year after opening, Showbiz 411‘s Roger Friedman has seen it and shat on it.
Quote #1: “Indeed, just by accident, I wound up discussing [Everything Everywhere] with two pretty solid Academy voters. Their response? ‘We turned it off, and there was good stuff there.'”
Quote #2: The visuals are dazzling, but are put together with some form of ADHD. If there’s a story in the alternate universe, I couldn’t figure it out. This is a comic book movie pretending to be something else — maybe Cloud Atlas, but that movie didn’t work either.”
Quote #3: “So how did this adventure in tediousness make $60 million? It is really a big cult film. The comic book stuff is what sold it to a certain audience, which is fine.”
If Everything Everywhere All At Once was a person napping on a couch in a living room, I would take off my shoes, sneak up and suffocate it with a throw pillow.
[Initially posted on 9.24.20] A couple of days ago screenwriter Daniel Waters asked followers to post four or five films that they deeply admire or feel guilty-pleasure pangs for, but which are generally regarded as insufficiently loved.
Five films, in short, that the hoi polloi never seemed to care very much for (or never knew much about or have forgotten) but which you privately swear by.
Five years ago I posted a list of HE’s 160 greatest all-time films , but none apply here because each is loved and respected. We’re talking lone-wolf, off-in-the-corner films. So here are five…make it six picks:
Sandra Nettlebeck‘s Mostly Martha (’01). Probably the greatest sensual foodie + unlikely love affair flick I’ve ever seen. Martina Gedeck and Sergio Castellitto‘s lead performances are perfection. Scott Hicks‘ No Reservations, an American remake costarring Catherine Zeta Jones and Aaron Eckhart, missed the mark.
John Flynn‘s The Outfit (’73). A classic hard-boiled revenge film, lean and blunt and crafted in the tradition of Point Blank. Outside of noir cultists and film bums, few have paid much attention. Robert Duvall, Karen Black, Joe Don Baker, Joanna Cassidy and Robert Ryan.
Bob Rafelson‘s Stay Hungry (’76). Love, character, destiny, Southern culture and body-building. Charming, low-key, funny. Arguably contains the most winning Arnold Schwarzenegger performance ever. Definitely my all-time favorite Jeff Bridges film. Sally Field, R.G. Armstrong, Robert Englund, Helena Kallianiotes.
Frank Perry and Thomas McGuane‘s Rancho Deluxe (’75). Another Jeff Bridges film about destiny and character, this time by way of Montana cattle rustling. Harry Dean Stanton and Richard Bright played Curt and Burt, and of course their names are a running gag. Not a lot of narrative urgency, but that’s also the charm of it.
Lamont Johnson‘s The Last American Hero (’73). One of the best redneck flicks ever. Yes, Bridges again. The story of racecar driver Junior Johnson, called Elroy Jackson in the film. Based on Tom Wolfe‘s Esquire piece titled “The Last American Hero Is Junior Johnson…Yes!”.
Susanne Bier‘s Things We Lost In The Fire (’07). My all-time favorite film about drug addiction, containing my favorite Benicio del Toro performance. Fans were few and far between when it opened in ’07, but I was instantly sold. Alone but hooked,
I half-liked the first John Wick flick, but I hated the two that followed. I might watch John Wick: Chapter 4 (Lionsgate, 3.24.23) because of the locations — Paris, Berlin (including Studio Babelsburg sound stage interiors), osaka and Lawrence of Arabia‘s Wadi Rum.
I've just finished reading the delicious opening chapter of Quentin Tarantino's "Cinema Speculation." It's called "Little Q Watching Big Movies," and it has a great recollection of what it was like for seven-year-old Quentin to watch John Avildsen's Joe ('70), and especially how audiences loved Peter Boyle's titular character -- not loved by way of admiration, but because Joe, low-rent doofus that he was, occasionally expressed popular rage about this and that cultural issue.
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Julia Butters, 13, is going to luck into something momentous. A feature, I hope. She’s got it. Unfortunately The Fabelmans doesn’t let her do all that much, but that’s not a tragedy. I’m just sensing that something exceptional will come her way within four or five years.
…their goose will almost certainly be cooked in ’24.
“This is an absolute disaster for the Republican Party.” pic.twitter.com/0M0WKJt4hC
— Republicans against Trumpism (@RpsAgainstTrump) November 9, 2022
[Initially posted on 8.16.21, or 15 months ago]: It was late in the afternoon in the fall of '78 when I ran into Chris Walken upon the New York-bound platform of the Westport train station.
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…on a four-lane blacktop I tend to stay to the right, largely because driving in the left lane (or the one closest to the yellow dividing line) makes me more vulnerable to the Dwaynes of the world who might want to suddenly veer across the line and smash head-on into an oncoming vehicle. If you’re in the right lane it’s much easier to avoid a potential Dwayne. I’m serious about this. I believe there are definitely some Dwaynes out there, thinking about suicide and self-destruction. Why not play it safe or at least safer?
A 64 year-old Louisiana woman who claims to have been sexually fiddle-faddled by Warren Beatty 49 years ago, when she was 14 and 15 and therefore a minor, has filed a lawsuit against the 85-year-old actor-director.
The alleged relationship between Beatty and the plaintiff, Kristina Charlotte Hirsch, happened, she claims, throughout most of 1973, when Beatty was 35 and 36. Hirsch claims to have met Beatty in January 1973, and was involved in some kind of sexual relationship with him until the end of that year. She claims she and Beatty first met on a movie set — presumably The Parallax View, a paranoid thriller that was shot in ’73 and released in June ’74. Beatty starred; Alan Pakula directed.
Yeah, I know — why wait 49 years to attempt a shakedown? Because of the protection afforded by #MeToo community, for one thing. There’s also the California Child Victims Act, which allows survivors of any age to pursue justice, no matter how old they are, when the abuse occurred, or if their abuser is alive or dead.
The CCV Act has to be acted upon within a three-year window, starting in 1.1.20 and ending on 1.1.23. Hirsch could have filed the Beatty lawsuit as early as 1.1.20, but didn’t then and didn’t for the rest of that year.. She also sat silent throughout 2021 and throughout the first three-quarters of 2022. Her lawsuit was filed last Monday by Jeff Anderson & Associates.
[Steven Spielberg‘s latest film has already been heavily reviewed, discussed, spoiled and Twitter-poked. Nonetheless spoiler whiners are hereby warned.]
I caught Steven Spielberg‘s The Fabelmans (Universal, 11.11) last night, and like everyone else I was prepared to be mildly disappointed. Because the word on the street is that this 151-minute family film isn’t nearly as great as those suck-uppy Toronto critics said it was. A decent film in many respects, some have said, and highlighted by a few…make that three stand-out scenes, but calm down. So I was ready for a mixed-bag experience, and that’s exactly what I realized it was as I left the theatre around 9 pm.
It’s all right in some respects and very good in terms of those three scenes (Judd Hirsch soliloquy, Gabriel LaBelle‘s teenaged “Sammy” shooting WWII battle scenes in the Arizona desert with verve and ingenuity, Sammy meeting the cantankerous John Ford at the very end) but it’s no Oscar frontrunner, I can tell you that. At best it’s a soft frontrunner because there’s no big consensus film that appears ready to elbow The Fabelmans aside.
It’s basically an overlong, broadly-played family movie about a kid learning the basic filmmaking ropes while his parents edge toward divorce, and it really doesn’t feel natural — for my money it feels too “performed”. Especially in the matter of Michelle Williams‘ Mitzi Fabelman, Samy’s colorful, excitable, piano-playing mom.
Judd Hirsch’s big scene aside, the family saga is…I’m not saying it’s boring but I wouldn’t call it especially rousing either, and Spielberg doesn’t seem to realize this. And he definitely lets it go on too long.
You have to ask “what if The Fabelmans wasn’t a largely autobiographical tale about Spielberg’s childhood…what if it was just a story about some boomer kid who loved movies and wanted to make his own?”
The fact is that without the Spielberg factor, without us knowing that this is the kid who went on to make Jaws, Raiders of the Lost Ark, Jurassic Park and Schindler’s List…if this was just the story of a filmstruck kid, it wouldn’t have been made because it doesn’t have that much in the way of basic magnetism…it’s just the slow story of a marriage that slowly falls apart and about how the oldest son deals with it all.
The Fabelman saga (cowritten by Spielberg and Tony Kushner) is simply not that riveting, and yet it means so much to Spielberg that he doesn’t seem to realize it’s only intermittently engaging to Average Joes. If he had realized this, he would have made it shorter. It should have run two hours max, not two and a half.
I’m not calling it a wholly unsatisfying or a poorly made film, but it’s mostly a so-so experience.
The only parts that I really liked were those that focused on Spielberg shooting and showing stuff. The marital infidelity stuff (Williams cheating on Paul Dano with Seth Rogen‘s “Uncle Benny”) was frankly trying my patience. The anti-Semitic high-school bully scene in the hallway doesn’t really work. And in the 1952 section, Sammy’s parents can’t understand why Sammy crashed his toy train set? They’ve just recently taken him to see The Greatest Show on Earth and they can’t figure it out?
The only scene I really adored was Sammy meeting grumpy old John Ford (David Lynch). The moment when the Searchers music begins playing as Sammy is looking around at the posters on the wall…this is the greatest moment in the film. Ford endlessly lighting the cigar was too much but barking at Sammy about the horizon lines was great.
The fact is that during most of the film I was losing patience. I just didn’t care all that much. I kept asking myself “when is this film going to leave the ground and get airborne”? It finally does at the very end with Ford/Lynch,
Julia Butters, who plays Sammny’s younger sister, isn’t as good here as she was in Quentin Tarantino‘s Once Upon A Time in Hollywood because she’s obliged to perform in a Spielberg vehicle in a Spielbergy fashion.
And that weird Jesus-freak girlfriend Sammy falls in with in Northern California! She was like a farcical sitcom character, like somebody out of Happy Days.
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