There are dozens of links to articles stating that real-life Imitation Game hero Alan Turing (played by Benedict Cumberbatch in the just-opened film) had a fascination with Walt Disney‘s Snow White and the Seven Dwarfs and particularly the poisoned apple given to Snow White by the wicked witch. There are also plenty of links pointing to articles about Turing having apparently committed suicide on 6.7.54 by biting into an apple laced with cyanide.

(l.) Alan Turing in his teens or early 20s; (r.) Benedict Cumberbatch as Turing in The Imitation Game.

Talk about a ripe cinematic image proferred on a silver plate! And yet there’s no poison-apple suicide depicted in The Imitation Game. In his 12.1.14 review of Morten Tyldum‘s film, New Yorker critic Anthony Lane asks “how could a movie director, of all people, not make something of that? Tyldum builds up to it, with scenes of Turing messing about with cyanide and handing out apples at work, but the payoff is missing.”

Two days ago Screencrush‘s Matt Singer summed up Five Rules for Success in Biopic Season. Five things, in other words, that actors have to do to get nominated for an acting Oscar. One, either gain or lose a ton of weight. Two, age onscreen and not so gracefully. Three, play someone who had great accomplishments but didn’t receive adequate credit (i.e., The Imitation Game). Four, fight against any kind of prejudice (i.e., Imitation Game, Selma). And five, if all else fails sing a song. It’s all listed, referenced and thoroughly explained.

The thrust, obviously, is that Academy voters, saddled with the psychology of abused and needy children, fall for the same routines over and over.

Now that Morten Tyldum and Graham Moore‘s The Imitation Game (Weinstein Co., 11.28) has finally opened, perhaps those who’ve seen it could answer a few questions?

Screeners of The Weinstein Co’s Imitation Game and St. Vincent arrived today.

1. Does the film tell Alan Turing‘s story well and fully, and does it engage the viewer, etc.? Is it a sharp, well-ordered thing — a movie that knows what it’s doing and how to make it all cook and simmer just so, as I said in my original review — or could it use some other ingredient?

I’ve expanded my “pure as the driven snow” Best of 2014 list (originally posted on 11.20) to 27, having added Rob Marshall‘s Into The Woods, Hany Abu-Assad‘s Omar and Charlie McDowell‘s The One I Love to the second-tier 13-to-26 list. Adding Pawel Pawlikowski‘s Ida (which I’ve always regarded as a 2013 film although I understand that most see it as a 2014 release) and you’ve got 27. I’ll update once again after seeing Unbroken on Sunday night, 11.30, followed by Big Eyes and Exodus two or three days later. (I’m currently halfway through an online screener of Nuri Bilge Ceylan‘s Winter Sleep.)

Top Twelve: 1. Birdman (d: Alejandro G. Inarritu); 2. Citizen Four (d: Laura Poitras); 3. Leviathan (d: Andrey Zvyagintsev); 4. Gone Girl (d: David Fincher, who took a film with an airport-lounge plot and made it into something much more resonant); 5. Boyhood (d: Richard Linklater); 6. A Most Violent Year (d: J.C. Chandor); 7. Wild Tales (d: Damian Szifron); 8. A Most Wanted Man (d: Anton Corbijn); 9. The Babadook (d: Jennifer Kent); 10. Locke (d: Steven Knight); 11. Nightcrawler (d: Dan Gilroy); 12. The Drop (d: Michael R. Roskam).

When did everyone decide that Julianne Moore was all-but-locked to win the Best Actress Oscar? Roughly two and half months ago, or just after Still Alice, a morose but affecting Lifetime movie about a brilliant college professor suffering from the progressive malice of Alzheimer’s disease, was picked up by Sony Classics out of Toronto on 9.12. But of all the reasons that Moore deserves her big win (and I’m not arguing this in the least — she’ll almost certainly have her Oscar moment on 2.22.15), Still Alice, which I finally saw yesterday, is the least of them.

Moore plays her sad part with delicacy and the depth of feeling that only great actresses seem to fully harness — she’s convincing and then some. But for me, Still Alice is a hellish thing to sit through. It’s a dirge about a kind of death sentence or more precisely a spiritual suffocation, mitigated to some extent by the fact that the condemned (i.e., Moore) is attractive and wealthy and married to a nice man (Alec Baldwin) and surrounded by bright, sensitive family members who care a great deal and can do absolutely nothing to help.

Still Alice is a movie that says “okay, your brain is going to start dying now…okay, the symptoms are getting a little worse now…is the horror of this predicament affecting everyone? Getting worse, still worse…my God, this disease really sucks! And Julianne Moore can’t do anything about it. And neither can you, the viewer. Because we, the filmmakers, have decided that the most sensitive and affecting thing to do is for everyone — Moore, the costars, the audience, Jeffrey Wells sitting on his living room couch — to just ride it out to the end…sadly, gently, compassionately.”

I’ve been waiting for a long, long time to see those mountains of water, rolling and cresting in the big red-sea sequence. In this respect and in terms of general visual panache, Ridley Scott has finally elbowed aside Cecil B. DeMille. The first press screenings of Ridley Scott‘s Exodus: Gods and Kings (or at least the ones I know about) will happen on Wednesday, 12.3. Pic opens nine days later.

A North Korean government-controlled website, Uriminzokkiri, has laid into The Interview, the satiric political comedy opening on 12.25, and, by inference, its star and co-director Seth Rogen, co-director Evan Goldberg and costar James Franco. In the usual blustery, militant tone of official North Korean pronouncements, the statement declared that the filmmakers “must be subject to stern punishment.” Which could mean bare-bottom spanking or something heavier.

“The cheekiness to show this conspiracy movie, which is comprised of utter distortions of the truth and absurd imaginations, is an evil act of provocation against our highly dignified republic and an insult against our righteous people,” the statement said.

The 88-second teaser for J.J. Abrams‘ Star Wars: The Force Awakens (Disney, 12.18.05) will pop on iTunes early tomorrow morning, or roughly around 7 am Pacific. The teaser was going to just be shown theatrically but thousands from outlying areas bitched so that’s been scrapped. I’ve been told that the iTunes appearance will coincide with the first theatrical showings of the teaser at Hollywood’s El Capitan, which is selling tickets for a Big Hero 6 showing at 7 am. They would never schedule this if it wasn’t for the teaser hoo-hah. New York teaser screenings will begin around 10 am, the folks in England will have to wait until 3 pm or thereabouts, etc.

Producer and former Paramount Pictures president Frank Yablans, who presided over that studio during its early-to-middle”70s golden period (The Godfather, Serpico, Paper Moon, Chinatown, The Godfather, Part II, Murder on the Orient Express) and then served as vice-chairman and COO of MGM/United Artists under Kirk Kerkorian, died earlier today at age 79.

Unlike his slightly older, still-living brother Irwin, a producer of second-tier “product” who was Billy Carter to Frank’s Jimmy Carter, the younger Yablans believed in class and quality. He produced Silver Streak (good comedy), The Other Side of Midnight (glitzy garbage), The Fury (second-tier DePalma), The Star Chamber (Peter Hyams crap) and Congo (crap).

Yablans also produced and co-penned screenplays for North Dallas Forty (a very good football film) and Mommie Dearest (classic, hilarious, over-the-top kitsch).

I’ve never been a fan of that “plink plink plink plink plink pink plink plink” Twilight Zone theme, which replaced Bernard Herrmann‘s music after the first ’59-to-’60 season. Herrmann’s original score is wonderfully solemn and vaguely creepy, and much more affecting in a moody-undercurrent way than anything that followed. Sidenote: I own Bluray box sets of seasons #1 and #2. Which make the episodes look much cleaner and sharper than they ever did on the tube way back when, and even better than they did in private screenings for CBS executives.

Unfinished Business (20th Century Fox, 3.6.15) is apparently a lowbrow Animal House-type comedy among struggling entrepeneurs during a do-or-die business deal in Germany. It’s also a re-teaming of a noticeably thinner Vince Vaughn with Ken Scott, who directed Vaughn in Delivery Man (’13), a remake of Scott’s Canadian-produced Starbuck (’11). I wish Vaughn could make a comedy that reflected his actual, real-deal comic sensibilities without having to pander to the megaplex apes. Pic was filmed in the Boston area (Framingham, Braintree) and Berlin and HE’s own Studio Babelsberg.