I’m perfectly fine with the pace of the subtitled narrative in Matt Zoller Seitz‘s video essay about Clint Eastwood‘s career-long theme of revenge, called “Kingdom of The Blind.” Some have said it moves along too fast but not for me. MZS has nonethless said he’ll be launching a version later today (possibly by noon) that will be friendlier to readers who prefer a slower pace..

I was half taken and half irked with Brian DePalma‘s Carrie when I first saw it in ’76. But the bit that happens at 6:33 made me jump out of my seat, and I was thereafter sold on the idea of DePalma being a kind of mad genius. I was gradually divested of this view in subsequent years, sad to say. Actually by The Fury, which was only two years later.

To me DePalma was at his craftiest and most diabolical in Greetings, Hi, Mom, Sisters, Phantom of the Paradise and Carrie. Bit by bit and more and more, everything post-Carrie was one kind of problem or another (except for Scarface).

Many, many days ago the Hollywood Reporter‘s Gregg Kilday, Jay A. Hernandez and Borys Kit posted a review of the ten biggest flops of the last decade. By the standard of the greatest production cost to deadbeat-gross ratio, the worst wipeout was 2002’s The Adventures of Pluto Nash ($100 million production tab vs. $4.4 million domestic gross) followed by ’01’s Town and Country ($90 million in costs vs. $6.7 million in domestic earnings). The others are Battlefield Earth, Land of the Lost, Gigli, Catwoman, The Invasion, Rollerball, Grindhouse and The Spirit.

My God, she doesn’t even inhale! Takes a drag, blows it out a second or two later — obviously not attuned to the potential cannabis experience.

Yes, I realize that Roger Durling‘s decision to invite The Blind Side star Sandra Bullock to take part in a Santa Barbara Film Festival dog-and-pony show means he’s betting that she’s got some serious Best Actress heat. (Tapped out on iPhone at AMC Lincoln Square before Up In The Air all-media.)

Envelope/Gold Derby columnist Tom O’Neil is claiming that the forthcoming Best Picture win by Precious at the indie Spirit Awards next March (O’Neil believes it’s a foregone conclusion) is as much if not more about the Spirits’ rivalry with the New York-based Gotham awards as the quality of Lee Daniels‘ film.

“As expected, Independent Spirit Awards lavished nominations upon Precious: Based on the Novel ‘Push’ by Sapphire today, thereby addressing the film’s ridiculous snub by the other, rival prize for independent films, the Gotham Awards, which gave their top trophy last night to The Hurt Locker,” O’Neil writes.

“This year’s clash between the two awards — bestowed by rival factions of an organization that split in 2006 — marks the height of absurdity in awards land. Each side is embracing one of the two top indies — The Hurt Locker or Precious — to the exclusion of the other. In the end, both awards look foolish and everybody loses.

“The Hurt Locker isn’t eligible at the Indie Spirits this year so it won’t be going head to head with Precious on awards night, but it was eligible last year and failed to be nominated for best picture. How clueless is that?

“Jeremy Renner and Anthony Mackie received lead- and supporting-acting bids, so we know that it was on voters’ radar. They just didn’t think it was worthy of consideration for the top prize. Instead, the Spirit nominees were Ballast, Frozen River, Rachel Getting Married, Wendy and Lucy and the winner, The Wrestler.

“In recent months, The Hurt Locker has built up deafening buzz. The Gotham Awards — based in Manhattan — saw their chance to swoop in and give The Hurt Locker the kudos love it should have received from their Los Angeles counterpart, but, strangely, the Gothams decided to snub the other top indie film in the process: Precious.”

(Which I incidentally feel was an okay move.)

“Get the picture? Can you guess what’s going to win the Indie Spirit Award this year? Does it even matter that there are four other nominees: (500) Days of Summer, Amreeka, Sin Nombre and The Last Station?

Among Empire‘s gallery of iconic movie role portraits, this shot struck me more than any other. What, honestly, was your first reaction to it? Your second reaction, most likely, was that Daniel Radcliffe is wearing the most complex, adult-seeming, wised-up expression among the three. But initially…?

Daniel Radcliffe, Emma Watson, Rupert Grinch.

The N.Y. Times has posted an amusing, very clever little video piece about how David Carr has handed the Carpetbagger reins to Melena Ryzik. Refresh Content’s Nick Dawson graciously sent the embed code along [which I had to remove due to an automatic launch function], and yet the fact remains that somebody in the Times pipeline is refusing to make the code easily available.

It would be one thing if the piece was easily findable on YouTube, but it’s not…if it’s there at all. I’d prefer to grab a YouTube code because the one Dawson sent me automatically launches the video whenever a reader refreshes the HE page.

I called the Times a few times and left messages…nothing. An embed code is not going to re-direct traffic to someone else’s site, and yet the Times — increasingly isolated in its mule-like refusal to roll with the 21st Century swing of things — refuses to let dumb guys like me (i.e., who can’t figure how to capture the code inside the guts of the Times website) access their codes and post their videos.

Can someone from the Times at least send me a code that won’t automatically launch the video?

The week’s least intriguing Avatar article comes from Vanity Fair‘s usually engaging Julian Sancton, who interviews the guy hired to crate the Na’vi language — i.e., Paul Frommer, Professor of Clinical Management Communication at U.S.C.

Sanction: “How would you greet someone who called you on the phone in Na’vi, if there were such things as phones on Pandora?” Frommer: “I would say, ‘Kaltxi. Ngaru lu fpom srak?’ Which is kind of, ‘Hello, how are you?'” The piece includes a sound file of Frommer saying this.

Movieline‘s Kyle Buchanan: “You have your ingenue (Carey Mulligan), your unknown (Gabby Sidibe), and you have Meryl Streep doing a character role, but The Blind Side‘s Sandra Bullock brings star power, and she’s never been nominated for Best Actress. My question to you is, do you think she deserves it?

Movieline‘s Stu Van Airsdale: “I actually do. It’s a very difficult role in the first place. There’s the accent, the swagger, the tenderness, and a benign sort of dogma that she gently tosses around, making it Christian catnip without alienating the secular audience, which is all this film wants to do in the first place. Moreover, she makes everyone around her better.”

In other words, the Academy actors branch needs to nominate Bullock because (a) it’s good for ratings and therefore good for business — no matter how they feel about The Blind Side — because a Bullock nomination will lure the hinterlanders, and (b) because actors who really get it aren’t the ones who hog the spotlight but make the film work as best they can, any way they can. As Meryl Streep said last night at the Gotham Awards, “Every actor in a supporting actor.”

Good things about today’s Spirit Awards nominations: (a) A Serious Man will get a special Robert Altman award (and not a Best Picture nomination?); (b) Sin Nombre was nominated for Best Picture, and Cary Fukunaga was nominated for Best Director; (c) Greg Mottola‘s Adventureland screenplay was nominated; (d) Tom Ford‘s A Single Man was nominated for Best First Feature (and is almost guaranteed to win in this category — trust me); (e) Big Fan and Humpday were nominated for the John Cassaevetes Award (i.e., best feature made for under $500,000); (f) Sacha Gervasi‘s Anvil! The Story of Anvil was nominated for Best Doc (and will almost certainly win).

Curious/weird things: (a) The Cove wasn’t nominated for Best Doc….what?; (b) Congrats to Ginsberg-Libby for scoring the p.r. gig but why, I’m wondering, did the Spirits jettison Mark Pogachefsky‘s MPRM after so many years of sterling service?; (c) The Hurt Locker is missing because it was nominated last year, and that happened because somebody on the team submitted it — go figure; (d) Yes, of course — A Serious Man lead Michael Stuhlbarg should have been nominated for Best Actor (and I’m starting to realize why people are cool to his performance — it’s because his character doesn’t stand up and get angry and fight against God’s wrath, and because he doesn’t make a move on the hot pot-smoking lady next door); (e) That Evening Sun‘s Hal Holbrook was denied a Best Actor nomination..why?