Corbet’s Chinese Immigrant Horror Film

We all need to accept that Brady Corbet believes in immersing audiences in the thick, fetid swamp of his own elephantine imaginings. Most of The Brutalist was mute nostril agony for me. But that was nothing compared to what’s coming.

For the last year or so Corbet has been cooking up a “get the whiteys!” racial revenge horror flick…a wokey-woke Chinese immigrant version of Killers of the Flower Moon but focused on the pain and trauma inflicted by whiteys upon Chinese silver mine and railroad workers back in the 19th Century, not through murder but by way of grueling work conditions and really shitty pay.

Descendents of Asian victims to white oppressors: You put our hard-working ancestors through hell back in the mid 1800s, not to mention the anti-Asian immigrant San Francisco race riot of 1877, and now it’s time for you, ya white motherfuckers, to suffer for your heartlessness and venality.”

Aaaannnddd Corbet’s film will reportedly run for over three and a half hours!

In a 2.17.25 interview on Marc Maron’s WTF Podcast, Corbet said the film will mainly take place in the 1970s (i.e., the horror stuff) but “also spans 150 years.” (the historical Chinese immigrant stuff), except the Chinese Transcontinental railroad workers mainly suffered during the 1860s, so Corbet was wrong — he meant that it reaches back a century or thereabouts.

Will the Asian retribution arrive in the form of undead ghouls?

On 12.26.24 Filmofilia‘s Allan Ford, having listened to Corbet expound during a Toronto Lightbox q & a, wrote the following: “Inspired by Tobe Hooper’s Texas Chainsaw Massacre, [Corbet’s next film] promises to juxtapose the visceral terror of horror with the emotional weight of immigration narratives.

“Set against the backdrop of 1970s California, Corbet’s ‘looser style’ aims to capture the era’s rugged, sun-drenched aesthetic while delving into the Chinese immigrant experience — a story rarely explored in Western cinema.”

19th century white railroad owners were cruel vicious shits, of course, but there’s no dimissing the suspicion that Corbet intends to deliver an Asian Killers of the Flower Moon with a Tobe Hooper-like horror overlay…evilwhiteyevilwhiteyEvilwhiteyevilwhiteyEvilwhiteyevilwhiteyEvilwhiteyevilwhitey….

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You Don’t Have To Be Liberal To See Value In Marlon Brando

Consider this highly perceptive Marlon Brando-as-Terry Malloy analysis by talk-radio guy Lee Habeeb, who’s a staunch rightie as well as a worsbipper of many good cinematic things. Plus he resides in Oxford, Mississippi.

Those Were Miserable-Looking Human Beings,’ posted on 3.13.25:

I’m sorry but I’ve been watching this every so often for a good 15 or 20 years…something about Elia Kazan‘s words and way of speaking melts me down.

Perfect summary: “That one person should need so much from another person in the way of tenderness and all that…and we all do, don’t we? We all marry or hopefully marry or hopefully hook up with some lady who’s gonna make us feel that we’re okay or we’re better and all that…we search for it and want it and crave it, and sometimes it happens and sometimes it happens for a while. And something in that basic story is what stirs people. Not the social-political thing so much as the human element.”

“Let Us Both Be Damned”

We’ve all fully understood for months that Emerald Fennell‘s Wuthering Heights (Warner Bros., 2.11) is going to deliver a fair amount of hungry, gasping, shuddering sexuality…fuck me hard and long, Heathcliff….slam my ham with overwhelming vigor, etc.

My first reaction to the trailer’s first closeup of 35-year-old Margot Robbie is that she’s too old to play Catherine Earnshaw, whom Bronte envisioned as a young lass in her early 20s. Plus she’s seven years older than 28 year-old Jacob Elordi, who plays Heathcliff.

Then again Robbie isn’t the first too-old Cathy — Merle Oberon played her in William Wyler‘s 1939 version when she was 38. Wyler’s Heathcliff, Laurence Olivier, was six years younger.

Plus Emily Bronte’s “Nelly Dean” is being portrayed this time by Vietnamese actress Hong Chau…a Vietnamese woman stirring the plot soup in the West Yorkshire moors in early 19th Century England?…I don’t think so! More bullshit presentism + nonsensical diverse casting for its own sake.

Felonious Criterion Teal-Poisoning…Busted!

All hail the glorious menonfilmpod@williammendoza, @adumbowerz, @Commihater, @ryancownie…brave men who are standing up to Criterion criminality as far as the teal-saturated Eyes Wide Shut 4K Bluray is concerned. HE to readership: Do you have eyes? Everything that was blue in previous versions is now tealed….even the formerly black cloaks of the orgy guys have been tealed….wake up!

,/p>

What Have Epstein Emails Revealed About Donald Trump’s Character and Behavior…

…that hasn’t been widely “known” or certainly believed and presumed for several years now? What’s the big deal exactly? Trump = dog, animal, sociopath, crime boss. Is there something new here? What has changed?

Jeffrey Epstein to Larry Summers (2.28.17): “I have met some very bad people, but none as bad as Trump…not one decent cell in his body.” But what does that mean coming from Epstein, of all people?

Late to Changpeng Zhao Grift-Pardon

Corruption in plain sight…no evasions or apologies. Par for the course…shrug, right?

Changpeng Zhao Wiki page excerpt: “Zhao resigned as the CEO in November 2023 after the U.S Department of Justice alleged he violated the Bank Secrecy Act and the International Emergency Economic Powers Act. He pleaded guilty and was sentenced to four months in prison in April 2024. Zhao completed his sentence by September of the same year. In October 2025, Zhao was given a presidential pardon by President Donald Trump. The pardon was given amid extensive business dealings between Binance and World Liberty Financial, a cryptocurrency company owned by the Trump family.”

This Reminds Me

Every year Hollywood Elsewhere subjects the leading Best Picture contenders to the Howard Hawks grading system. The legendary director is famed for having said that a really good movie (or a formidable Oscar-seeker) always has “three great scenes and no bad ones.”

Hawks also defined a good director as “someone who doesn’t annoy you.” I don’t want to sound unduly harsh or dismissive but I’m afraid that Ryan Coogler‘s writing and direction of the second half of Sinners…the blood-and-fangs section that begins with the arrival of the Irish vampires…I was increasingly annoyed all through that damn film. Honestly? I’m not a huge fan of the first half either.

How do the leading 2025 Best Picture contender films (numbering ten) rate on the Hawks chart? I’ll bang this out tomorrow.

I wish I could subject Chloe Zhao‘s Hamnet to the Hawks test. All I’ve heard from admirers is that it ends with a really great scene (i.e., a performance of Hamlet inside the Globe theatre), but no one has mentioned two other standouts. Do they exist? I’d really like to know.

Feel-Good Messaging

Sincere message to all the Facebook friendos who’ve been sending along good wishes…it’s always nice when this happens.

Message from ex-Manhattan girlfriend, received this morning: “Happy XX Birthday. I’ve actually kinda forgotten how old you are and even, for that matter, where you geographically might be now. But wherever that is, I hope you’re well and celebrating.”

HE reply: “Thanks, [name]! Happy birthday to you also, being another Scorpio.

“Have you guys seen Sentimental Value, by the way? Renate Reinsve plays [you] in your mid 30s.

“Rather than resort to standard fiction, let’s just say that age-wise I’m still being born. Go ahead and laugh, but I often…okay, I sometimes feel close to or even imbued with the Obi Wan Kenobi-ness of it all…a John Lennon universe, which is to say a realm that is age-less, time-less, and occasionally radiating ‘oh, such loveliness,’ as Paddy Chayefsky once put it.

“That loveliness dissolves into anxiety and defensivness, of course, whenever I read the thoughts of certain progressive HE commenters, battery-acid scolds, alarmists and shriekers. But Chayefsky also described this head-space as the ecstatic embrace of ‘what the Hindus call prana.'”

Ex-Manhattan girlfriend reply: “I have not seen Sentimental Value. Interesting comment. Now I have to see it, of course.”

Jeff Sneider: “Happy Birthday, Jeff! I’ll spare you any jokes, but rest assured that those of us with taste know you’re a real one. A daily read. I’ve read every word. Big respect. Enjoy the day, Monsieur Motherfucker.”

Prana is a Sanskrit word meaning “life force” or “vital energy” that is believed to pervade the universe and animate all living things. It is considered a vital principle in Hinduism and is closely associated with breath, as breathing is a primary way to take in this energy. Practices like yoga and meditation, particularly the art of pranayama, focus on controlling and expanding one’s awareness of prana to promote physical, emotional, and spiritual health.

Mel Gibson: “The Industry Is Dying….Some Kind of Atrophy”

As revealed a month ago by a Brian Entin interview with Mel Gibson, Gibson needed to do a one-day reshoot, which he figured could’ve been handled in Los Angeles. No muss or fuss. But it finally made more sense to fly to effing Bulgaria.

Gibson: “It was cheaper — more cost effective — to fly the entire American crew…buy their air tickets, fly them to Bulgaria, house them and feed them for three days and do the shooting there, rather than just shoot for one day, locally, in Los Angeles, where they all lived.”

Critical Drinker, 7:22 mark: “There’s no avoiding this…Hollywood’s obsession with identity politics has been slowly klilling [the industry] over the past ten years…I’ve talked at length about the self-righteous actors who make it their business to lectue the worl dabout how to think and act. But now, it finally feels like the culture of Hollywood is slowly trying to distance itself from a culture war they’ve clearly lost.”

More To Life Than Tending To Bees

Any film that ends, flippantly or sincerely or ironically, with the total obliteration of humanity is obviously selling a misanthropic view of things. We get it, we get it…conscience- free human beings are basically destructive cockroaches and better off exterminated.

But at least give Yorgos Lanthimos‘s Bugonia a measure of credit for sticking to its nihilistic doomsday guns and not copping out like Kathryn Bigelow‘s A House of Dynamite, which is too chicken to show the obliteration of a major city (i.e., Chicago) and doesn’t even end like Sidney Lumet‘s Fail Safe (’64), which only suggested the nuclear destruction of New York City with zoomed-in freeze frames.

Venice Film Festival review, posted on 8.28:

I saw Yorgos Lanthimos‘s Bugonia at 11 this morning, just after Jay Kelly. I guess you could call it an extreme hoot — a bloody, ultra-violent rant about nutters, aliens and environmental destruction, and is fittingly strange and crazy for the eccentric kidnapping saga that it is.

I completely agree with and support what the film says about the ecological ruination of the planet and how thoughtless humans pretty much deserve extermination.

Emma Stone is fine and fierce as a corporate snap-dragon, and Jesse Plemons, playing one of her two kidnappers, certainly commits to his character’s greasy grubbiness and his none-too-bright delusions and theories. Aidan Delbis‘s fat simpleton with the big curly Afro is irksome, of course. All such characters are.

Why, I wondered, did Plemons’ beekeeper, deranged though he was, decide upon this mentally handicapped fool for a close friendo?

Jerskin Fendrix‘s pounding musical score is certainly striking.

I didn’t much like Bugonia but I respected the aliveness. And ah-delia-delia-delia-delia-delia that’s all she wrote.

Funniest Feinberg Observation in Months

From Scott Feinberg‘s latest Oscar spitball-predictions column (dated 11.11.25, paragraph #5)…

Ella McCay (20th Century, 12.12) began screening last week, but reactions remain under embargo for social through Nov. 24 and for reviews through Dec. 10 — read into that what you will. It’s James L. Brooks’ first feature in 15 years.”

Any film that forbids the posting of reviews until 36 hours before a film’s commercial opening…the name of that tune is called “hide the ball.”

“Never crap a crapper” — Kirk Douglas on the set of Eddie Macon’s Run in Laredo, Texas — directly overheard by yours truly in the late summer of 1982.

Streep Re-Emphasizing The Haughty in “Prada 2”

No Milan footage? The Devil Wears Prada 2 guys were shooting there in October, and HE was there only a few weeks earlier so what gives?

Miranda Priestly‘s red, gold-studded pumps look great, but that hand-on-the-hip gesture in the elevator says one thing: “Okay, here we go again.”

The Devil Wears Prada 2 is basically about the internet elbowing aside print — Priestly’s Runway being on the financial ropes with Emily Blunt, 42, now a major Priestly competitor with an online fashion presence of some kind…app, website, something. I don’t know where 43-year-old Anne Hathaway fits in.