I wonder if anyone has tried to re-edit Sicario with all of Emily Blunt‘s scenes removed, or at very least with her character reduced to a marginal figure. Sicario runs 121 minutes. A Blunt-free or Blunt-reduced version, if it exists or if someone assembles it, would maybe run…what, 80 or 90 minutes? I’m imagining this because I was so turned around by Sicario: Day of the Soldado. I didn’t have a Blunt problem in Sicario because I don’t like women in Mexican drug-dealing dramas. At all. The young Isabela Moner is awesome in Soldado — she owns almost every scene she’s in. But I don’t care for female FBI agents who are better at registering naive emotional responses to grim situations (weeping, shuddering, taking showers, picking up strangers in bars) than doing their job.

With David Poland having walked away from Movie City News (but not DP30!), the site should either shut down or rebrand itself. Either option is better than MCN just sitting there, stagnant and frozen in time, like it is now. Just as Roseanne sans Roseanne Barr is being rebooted as The Conners, a Poland-less Movie City News could be reignited as…I don’t know, Movie City Pride (run by headline-link guy Ray Pride with continuing box-office reports from Len Klady and occasional critiques by Gary Dretzka) or Movie City Jews or you tell me.

I say this every time the junket whores send out ecstasy tweets over the latest Marvel, D.C. or Star Wars flick, and I guess I’d better say it again about this morning’s Ant-Man and the Wasp reactions. Hilarious and spot-hitting as it may be, devotional-geek reactions must be instantly dismissed or at the very least regarded askance, because they always love everything. Only when skeptical sourpusses like myself have given a thumbs-up…only then can the Ant-Man and the Wasp buzz be trusted. I’ll be seeing it on Tuesday, 6.26.

I agree with Seth Rogen’s refusal to pose for a selfie with Paul Ryan’s kids as well as what he told the unconscionably venal Speaker of the House: “No way, man!…furthermore, I hate what you’re doing to the country at this moment and I count the days until you no longer have one iota of the power you currently have.” But I don’t quite agree with the owner of the Red Hen in Lexington, Virginia, who told White House press secretary Sarah Sanders that she wouldn’t serve her. I’m not condemning the Red Hen decision — Sanders is horrific, of course, and deserves whatever bad vibes or social discomfort that might come her way. On the other hand it’s just dinner. Restaurants are finally about serving.

You almost don’t have to read Julia Ioffe’s GQ profile of Donald Trump, Jr. Because Nigel Buchanan‘s illustration pretty much says it all. Final paragraph: “Like Republican populists of the past decade, Don speaks of ‘real Americans,’ people he defines as ‘the forgotten people between New York City and Malibu.’ It’s an improbable notion: that the billionaire’s kid from 66 stories above Fifth Avenue is the one who speaks for the disaffected and the overlooked. But it’s no less surprising than the faint rumors suggesting that he might someday run for office — a way to finally, perhaps, make a name for himself.”

For whatever reason I wan’t invited to press screenings of Shana Feste‘s Boundaries, but I’ve been passed into a 7 pm screening this evening at the Royal. I was enthused after Variety‘s Owen Gleiberman called it “a touching yet wised-up father-daughter road movie that’s the best version of this sort of film you could imagine…it’s standard, but very tastefully done.” Alas, about 50% of the critics don’t approve — Metacritic and Rotten Tomatoes scores of 50% and 57%, respectively. Now I feel like I have an appointment with a dentist.

Mike Molloy‘s cinematography for The Hit (’84) was sufficient but unexceptional — it might have been shot on 35m but looked like 16mm. Which wasn’t a problem — it was what it was. So buying the just-released French Bluray doesn’t seem worth it. I’d rent a streaming HD version but that’s not an option. The Criterion DVD is good enough.

John Hurt‘s performance as Braddock is grim and taciturn but entirely readable — he barely moves a facial muscle but you can sense what he’s feeling and struggling with and is scared of at every turn. As minimalist performances go it’s masterful — right up there with Steve McQueen‘s Jake Holman in The Sand Pebbles and Kristin Scott Thomas‘s acting in I’ve Loved You So Long.

I’m sorry but I guffawed when I saw this, and for me those are few and far between.

I’ve relentlessly shared enthusiasm for the idea of Alfonso Cuaron‘s Roma, which will almost certainly debut at the Venice and Telluride festivals, or about ten weeks hence. (As well as Toronto in mid-September.)

Roma is Cuaron’s first film since Gravity, which debuted six years ago. The only 2018 film that even begins to sound like serious Best Picture rocket fuel, as in allegedly “beyond great” (i.e., a second-hand quote from a publicist who saw it). A Spanish-language film, yes, and digitally shot in radiant black-and-white. A year in the life of a middle-class family in Mexico City in the early 1970s, more specifically about the Corpus Christi Massacre of 6.10.71.

Team Roma will launch a balls-out, take-no-prisoners Best Picture campaign, as well as (I’m hearing) a Best Supporting Actress campaign for Marina De Tavira, a 44 year-old actress who apparently plays the maternal heart and soul of said middle-class family.

Will the Netflix factor (i.e., the company’s reluctance to commit to a serious theatrical exposure prior to streaming) get in the way? Ask the Mudbound people who managed four Oscar noms last year (Best Supporting Actress, Best Adapted Screenplay, Best Cinematography, Best Song). So probably not.

What about the foreign-language factor? Michael Haneke‘s Amour was Best Picture nominated six years ago so why not Roma? I’m presuming that, like Amour, Roma will aim for simultaneous Best Picture and Best Foreign Language Feature noms.

I know I’ve listed these films several times, and that a good portion probably won’t matter in the long run, and that some may not even open this year, but I’ve listed them anyway. Which ones would you describe as pulse-quickening and which sound meh or dismissable?

1. Damien Chazelle‘s First Man (Ryan Gosling, Claire Foy, Corey Stoll, Kyle Chandler, Jason Clarke).

2. Alfonso Cuaron‘s Roma (Marina de Tavira, Marco Graf, Yalitza Aparicio, Daniela Demesa, Enoc Leaño, Daniel Valtierra).

3. Adam McKay‘s Backseat (w/ Christian Bale, Amy Adams, Steve Carell, Sam Rockwell).

4. Cold War (d: Pawel Pawlikowski) (Joanna Kulig, Agata Kulesza, Borys Szyc, Tomasz Kot, Adam Ferency).

5. Bjorn Runge‘s The Wife (Glenn Close‘s Best Actress campaign + Jonathan Pryce, Christian Slater, Annie Starke. Max Irons).

6. Bradley Cooper‘s A Star Is Born (w/ Cooper, Lady Gaga, Sam Elliott, Andrew Dice Clay and Dave Chappelle).

7. Jonah Hill‘s Mid ’90s (Sunny Suljic, Katherine Waterston, Lucas Hedges, Alexa Demie).

8. Felicity Jones as Ruth Bader Ginsburg in On The Basis of Sex.

9. Mary, Queen of Scots (Saoirse Ronan, Margot Robbie, David Tennant, Jack Lowden, Guy Pearce);

10. David Lowery‘s The Old Man and the Gun (Robert Redford, Casey Affleck, Sissy Spacek, Danny Glover, Tika Sumpter, Tom Waits, Elisabeth Moss).