Roger Friedman has seenWoody Allen’s CoupdeChance, and is so impressed with the 90-minute, French-speaking noir that he’s suggesting it could end up winning the Best Int’l Feature Oscar next year.
It’s great to hear this level of enthusiasm, and it makes me all the more hopeful that CoupdeChance will play Cannes next month.
It goes without saying, of course, that Allen haters would never allow it to even be nominated, much less win. They would shriek and howl at even the possibility.
And what’s with the 90-minute length, by the way? Doesn’t Allen understand that the average running time these days is well over two hours?
Maiwenn's Jeanne du Barry, a historical drama set in the mid to late 1700s France (i.e., mostly before but also including the French Revolution), will open the '23 Cannes Film Festival on Tuesday, 5.16.
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I haven’t seen Psycho in a boxy format in many decades, but it’s currently viewable in this aspect ratio (1.37:1) on Netflix. The images look soft and grainy, like you’re watching a broadcast version on an old TV in 1974. The framings are nonetheless fascinating. I suspect that some Netflix techie made a mistake and this version won’t last long, so jump on it as soon as you can.
It’s not Covid (just tested myself) and there’s no fever, but something got into me last night. A serious ache in my chest. Not a heart attack but something. Persistent fatigue. I couldn’t sleep all night. Breathing hurts a bit. Whatever it is, I’m waiting it out.
I somehow missed that fact that Bill Hader, 43, has directed all eight episodes of the fourth and final season of Barry (HBO Max, 4.16 thru 5.28). I would’ve been down for this anyway, but now my blood is up.
I’ll almost certainly never speak to the great Richard Lester, 91, but if somehow this were to happen, I would begin by praising Juggernaut (’73) and The Three Musketeers (’74). I would also sing the praises of Petulia (’68) — a landmark film. And then…
Does Greta Gerwig’s Barbie represent a rebirth or regeneration of Alan Carr’s Can’tStopTheMusic (‘79)? Because the male characters in these new Barbie posters are obviously modeled on the Village People of the late ’70s. Actually, scratch that — the Village People guys were mocking traditional machismo, but they were certainly more manly than these Barbie kewpie dolls.
No, Klaus Barbie doesn’t fit in, and that’s not even funny. The ‘63 version of Steve McQueen rides his motorcycle into Barbieland in search of the infamous Nazi war criminal, but gets distracted by the impossibly sexy AlexandraShipp…naah, doesn’t work. I’m totally confused.
Q: Where are the men in this movie? A: What can I do, what can I be…when I’m with you, I wanna stay there.
From “What Is Barbie Going For, Exactly?” by Vulture‘s Jason P. Frank:
“The main issue is that we don’t actually know what the plot of the movie is.
“In the early stages of the film, it was supposed to be ‘a fish-out-of-water story a la Splash and Big, whereby Barbie gets kicked out of Barbieland because she’s not perfect enough, a bit eccentric and doesn’t fit in,’ Deadline reported back in 2018. ‘She then goes on an adventure in the real world and by the time she returns to Barbieland to save it, she has gained the realization that perfection comes on the inside, not the outside, and that the key to happiness is belief in oneself, free of the obligation to adhere to some unattainable standard of perfection.’
“That plot is not out of the question, but the film seems a bit more meta than that description allows for — the teaser implies a specific knowledge of Barbie’s real-world impact, for example. Also, Will Ferrell has been confirmed to be playing the CEO of Mattel, which means that Barbie could gain sentience (??) at some point.
“We do have one other fun clue — Margot Robbie’s Letterboxd account, which was unearthed and then promptly deleted. The category of ‘Watch for Barbie’ included such titles as The Truman Show, Splash, Puberty Blues, The Young Girls of Rochefort and The Umbrellas of Cherbourg. The Truman Show has an obvious connection to the ‘CEO of Mattel’ situation, but perhaps most interesting is the inclusion of Jacques Demy’s The Umbrellas of Cherbourg and The Young Girls of Rochefort, both of which are musicals. Umbrellas is a searingly emotional, entirely sung-through romantic drama, while Young Girls is a musical comedy.
“Given the amount of dancing that is flashed through in the teaser trailer — including with Simu Liu and Margot Robbie in a disco dress — Barbie might be…a musical. Not to mention Dua Lipa, confirmed singer, is part of the cast.
“What is Barbie? So far, it’s a collection of references — meta, esoteric, and pop culture alike — all wrapped up in a pretty pink bow.”
An April opening doesn’t necessarily mean what it used to mean — i.e., an interesting, fairly good film that doesn’t quite make it by Ivy League standards.
The word has already gotten out that Ari Aster‘s three-hour Beau Is Afraid (A24, 4.14) is a grueling, agonizing sit, and that it will probably take weeks of therapy to clean the residue out of the average person’s head.
Ben Affleck‘s Air, on the other hand, certainly makes it if you’re willing to think modestly or in “dad movie” terms, and if you don’t insist on a grand-slam experience.
Either way there’s nothing problematic about an April opening per se. There is, however, something to possibly be feared if your film opens in the mid to late fall, and it becomes a favored Best Picture contender.
Friendo explains: “As we’ve been learning over the last five years or so, there is much less value in the Oscar race today…contaminated by woke critics and their myopic, anti-populist priorities, the Oscar brand is so bad that smart producers aren’t necessarily aiming for an Oscar association…it used to be that Oscar-buzz movies made money or at least enjoyed a certain elevated status…now it’s almost the opposite.”
Oscar movies have become about eating your woke vegetables and applauding the raising of our shared social consciousness…[and] fewer people are interested in them, because of the woke thing or whatever. Or because Millennials and Zoomers have become totally alienated from the brand. Or because Best Picture property values have gone underwater in the wake of Everything Everywhere All At Once winning all those trophies few weeks ago. The brand has been totally poisoned, or at least miniaturized.
HE: London in November can sometimes be on the mild side, but it’s certainly not T-shirt weather…try again! At the very least it’s jacketweather. Oh, and November leaves have turned orange, yellow and brown and are generally on the ground…try again.
