And that, finally and absolutely, almost certainly signifies the end of the road, Best Picture-wise, for The Power of the Dog. Hyuuuge sigh of relief.
CODA just won the top PGA Award! It’s the only pre-Oscars award which, like the best pic Oscar, is determined using a preferential ballot. Had THE POWER OF THE DOG won it would have been hard to imagine it not winning the Oscar. CODA’s win makes the Oscar a toss-up, leaning CODA. pic.twitter.com/Ci5ppowz8V
So Mark Meadows is now facing both federal AND state criminal investigations. Here's an idea – how about we start bringing criminal charges against high government officials who have committed crimes? Because, you know … #JusticeMatters (h/t to #TeamJustice editor @petersoby) pic.twitter.com/YTHhUgDBTZ
I can smell it, sense it. And I will therefore wait for streaming. I don’t care how well made X is — my inclination is to steer clear for the time being, even though it’s probably a much better film than The Lost City.
There’s something I never paid attention to in the famous “you’re not a loser, Eddie, you’re a winner” scene from The Hustler. The “something” is this: traffic noise nearly floods this scene.
Director Robert Rossen could have shot in some remote woodsy area or in upper Central Park, but he chose to shoot near a highway of some kind. I’m guessing the Henry Hudson Parkway, somewhere near the 80s or 90s. They couldn’t be more than 40 or 50 feet from it — listen to those cars and motorbikes whirring by.
I think Rossen chose this spot because…I don’t know why. Perhaps he wanted to say that there’s no peace in New York City for some people…no calm, no havens, no real cover or seclusion. The clutter and clamor never leave you alone.
Oh, and Newman addressing Jackie Gleason‘s Minnesota Fats over and over as “fat man” doesn’t seem right by today’s standards. Gleason was somewhere between portly and hefty, but his girth is nothing compared to your typical 21st Century Jabba. Lost City costar Da’Vine Joy Randolph is twice Gleason’s size.
Wiki excerpt: “According to Bobby Darin‘s agent, Martin Baum, Paul Newman‘s agent turned down the part of Fast Eddie. Newman was unavailable to being committed to star opposite Elizabeth Taylor in Two for the Seesaw. Rossen offered Darin the part after seeing him on The Mike Wallace Interview.
“When Taylor was forced to drop out of Seesaw because of shooting overruns on Cleopatra, Newman was freed up to take the role, which he accepted after reading just half of the script. No one associated with the production officially notified Darin or his representatives that he had been replaced; they found out from a member of the public at a charity horse race.”
An hour ago Erik Anderson posted a genius tweet…a tweet that, if conceptually heeded two or three years ago, could’ve saved Jane Campion‘s The Power of the Dog from itself. If that morose and tiresome melodrama had been made into a grand musical tragedy, and if a 12-years-younger version of Madonna had played Kirsten Dunst‘s role of Rose, the alcoholic newlywed with a gay, covertly homicidal son, it could have been something. Really. I’m not being facetious. Especially, I’m thinking, if it had been made Evita-style, as a sung-through musical.
There are many things, I’m sure, that are lamentable or neurotic or fucked up about 40-and-under dudes in this country. But here’s one of them. Some designer out there designed these hellish slip-ons, and I can guarantee there are hundreds…okay, scores of dudes out there who are wearing them as we speak. Just strolling around and giggling with their idiot friends and making the world a much darker place by way of footwear. If I was an absolute ruler, a Ming-the-merciless of style and fashion, I would put out orders for police to arrest and detain anyone caught wearing these godforsaken things.
I like Jessica Chastain, I loved her in Zero Dark Thirty, and I certainly respect the herculean effort that went into the making and performing of The Eyes of Tammy Faye. But Best Actress cannot and should never be a Best Makeup thing…c’mon. It should be about strength, craft, pieces of a heart and the depth of a soul.
No, not those who believe that the Lia Thomas example is deeply unfair to female sports competitors and is really hurting the women’s sports industry. I mean the college-age robots who are using the term “transphobic” to describe people who have a problem with the lanky, man-sized Thomas defeating her female swimming competitors. Play the video and listen to these toadies. They’re so invested in progressive trans talking points, they’ve rejected the concept of basic competitive fairness.
Many are concerned about trans athletes in women’s sports.
But I’ve yet to hear a counter-argument that doesn’t misrepresent these concerns or dismiss them as “transphobic”.
There is no possibility of discussion when one side is determined not to listen.pic.twitter.com/7PYUaiQuo7
I’ll be reviewing AdamandAaronNée ‘sTheLost City (Paramount, 3.25) sometime tomorrow (Saturday, 3.19), but this paragraph from Peter Debruge’s 3.12Varietyreview conveys highly misleading and unreliable opinions. I don’t just disagree with the first and last sentences — I screamed out loud when I read them. I only saw the film last night so…
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