Six hour-long Amazon Prime episodes of Dead Ringers, based on the 1988 David Cronenberg original and starring Rachel Weisz behind streaming sometime in mid April.

There’s also the actual 35-year-old Cronenberg film, which ran 115 minutes.

Irons played twins named Beverly and Elliot Mantle; Weisz does the same.

I have no thoughts….none whatsoever.

Keith McNally, the hotshot Manhattan resturateur behind Augustine, Balthazar, Cafe Luxembourg, Cherche Midi, Lucky Strike, Minetta Tavern, Nell’s, Odeon, Pastis and Schiller’s Liquor Bar, is a Woody Allen fan from way back. Would it be fair to say that McNally is “in the tank” for the guy? Yeah, I think.

Within the last several hours McNally announced on Instagram that he had “wheedled” his way into am early-bird screening of Woody’s Coup de Chance, which many of us are hoping will show up in Cannes in mid May.

McNally #1: “It’s fucking great!…Allen’s best film since Midnight In Paris.”

McNally #2: “Coup de Chance is a contemporary film about romance, passion, jealousy, infidelity and murder. It stars terrific French actors and actresses, and is sensationally shot by maestro cinematographer Vittorio Storaro.

McNally #3: The film most critics will probably compare Coup de Chance to is Match Point, but the film it most reminds me of is Louis Malle‘s 1958 masterpiece, Elevator To The Gallows. The music especially. It’s a truly wonderful film.”

HE to McNally: A film reminiscent of Elevator to the Gallows suggests a plot that pivots on dark irony and passion-driven perps caught in the cruel grip of karma. In Match Point a lucky guy got away with murder — perhaps not this time.

(Thanks to World of Reel‘s Jordan Ruimy for the tip-off.)

Here’s hoping that Woody Allen‘s Coup de Chance (i.e., Stroke of Luck) will debut at the 2023 Cannes Film Festival.

Early this month Jordan Ruimy quoted a buyer who saw Allen’s 50th film at Berlin’s EFM market, and called it “his best film in years.” Allen has described it as a spiritual kin of Match Point — a chilly romantic thriller “charting the story of two young people whose bond leads to marital infidelity and ultimately crime.”

Ruimy had also learned from a person who worked on the film that Coup de Chance has been submitted to Cannes with hopes of screening there in a few weeks time. Presuming this is true, it would be exceedingly strange for Allen’s first French-language film, which is set in Paris and costars many prominent younger French actors, to not debut on the Cote d’Azur.

We know, of course, that among many of the usual Cannes-attending critics there are a fair number of Allen-hating fanatics who are determined to pan it, no matter how good it might be or how much it resembles Match Point or whatever. Simply because they’re committed to his destruction because of the highly questionable Dylan Farrow thing.

Imagine being one of these maniacs. Imagine admitting to yourself in your darkest, most deep-down place, “No matter how this film measures up against Allen’s best films and even if it’s half-good or above average by this standard, I am going to give it a shitty grade…regardless of merit I will do what I can to take this film down.”

Imagine what it must be like to look at yourself in the bathroom mirror under these circumstances.

Wes Anderson‘s Asteroid City (Focus Features, 6.6) is a quirky romantic dramedy set in a “fictional American desert town” during “an annual Junior Stargazer convention in 1955.” It was shot in Spain between August and October of ’21.

The visually striking one-sheet suggests it was lensed in Spain’s Almeria section, where many spaghetti westerns were filmed in the ’60s. If it was shot domestically one might presume that the Monument Valley region was used.

But no — it was mostly shot in the town of Chinchón, which is roughly 50 km outside of Madrid. In the mid ’50s a big bullfight scene was shot in Chinchon for Around the World in Eighty Days.

Pic costars the usual assortment of eccentric Anderson players plus a newbie or two (Tom Hanks, Jason Schwartzman, Scarlett Johansson, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jeff Goldblum, Fisher Stevens, Rita Wilson, et. al.).

Asteroid City will debut six weeks hence at the Cannes Film Festival.

No Uvalde-styled chickenshit pussyfooting around for those Nashville cops…they charged right in there and dropped Audrey Hale, a transgender graphic designer who lived with his/her/their parents, like a bad habit.

It took me a couple of attempts to get through John Scheinfeld‘s What The Hell Happened to Blood, Sweat and Tears?, but I finally did. My basic impression is that it’s an odd tale — a curio — about a strange detour that BS&T, a hugely popular jazz-rock fusion group, took in ’70 when they went on a State Department tour of three Soviet bloc countries in Eastern Europe (one being Romania). The tour was frowned upon by rock culture cognoscenti, and seemed to underline a general impression that BS&T was an MOR group favored by squares.

They also played a big gig at Caesars Palace in Las Vegas, which was even more unhip than performing to Eastern Europe. And they appeared on The Andy Williams Show…Jesus. And then came that hokey track from their third album, “Lucretia McEvil“…later.

There’s nothing “wrong” with being MOR or appealing to people with vaguely schmaltzy taste in music and…you know, it takes all sorts to make a world and all that.

And I’m not saying that Scheinfeld hasn’t assembled a reasonably absorbing, pro-level film with flavor and feeling — he has. But unlike my all-time favorite Scheinfeld doc, Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him?, it doesn’t have a lot of emotional resonance. You come out of it and it’s like “okay, not bad…diverting as far as it went.”

But then I read Owen Gleiberman’s 3.27 Variety review, and a paragraph about David Clayton-Thomas, BST’s lead singer from mid’68 onward (not counting an attempted solo-career detour)…this paragraph just hit the spot, man. I don’t mean to sound flip or cruel, but it almost gave me more pleasure than Scheinfeld’s doc, to be perfectly honest….not that there’s anything especially lacking or derelict about the film. It just didn’t get me high.

“The rock-‘n’-roll-ecstasy-meets-relax-the-’70s-are-here duality of Blood, Sweat & Tears was incarnated by the contradictory charisma of David Clayton-Thomas,” Gleiberman writes. “He favored skin-tight shirts with tie-dye stripes and leather pants, but he was no hippie. With his longish receding hair and sultry eyebrows and trucker’s build, he was like Joe Don Baker reborn as Elvis’s surly, sleazy bruiser brother, and he sang in an insinuating Mack-truck blues growl, like a wilder Tom Jones with a hint of Jim Jones. He was mesmerizing.”

We all know what it means to be a “surly, sleazy bruiser type” — it means that underneath the facade you’re a sniffing, panting, four-legged dog on the prowl for poontang. It means that you’re into compulsive muff-diving and getting blown in hotel rooms at 3 am and whatnot. A guy who summons notions of being the ornery bad brother of Elvis suggests a gauche, hormonally-unbridled truck driver with low-rent appetites.

Does anyone remember that photo of Jim Jones‘ corpse after he shot himself, sprawled on the ground of that big tent with that big pot belly poking out? Charismatic cult leaders always had the pick of the litter, or so the cliche goes, and we’ve all read stories about Jones being a brooding sexual conquistador and all that, and then you throw in an early ’70s image of Joe Don Baker, still best known for playing the baseball-bat wielding Buford Pusser…throw it all together and it seems as if the doc should have focused on DCT rather than BS&T…whaddaya think?

I’m not saying that Gleiberman’s description reflects who DCT actually is, mind. In recent interviews the 81 year-old seems like a mellow, moderate, likable guy. I am saying, however, that good writing flips a switch.

It’s obviously tragic when a person has slipped into such a dark and seemingly irredeemable place that he/she feels that suicide is the only option. Alas, that’s an old-hat approach. The 21st Century has introduced a new concept — “I’ll be taking several innocent people with me as I leave this mortal coil” — that turns tragedy into something evil.

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