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Kamala Harris‘s presidential candidacy was announced today. I have admired her for a long, long time, principally for her confirmation hearing grillings, which have been second only to former Sen. Al Franken‘s. Harris is a tough, principled Bay Area liberal who doesn’t take any shit, and I would vote for her in a second. She’s going to make the most of her 2020 Presidential run (certainly in the primaries) and generally kick ass, and all power to her.

Harris is heavily favored by women of color, and “it’s hard to find a more important primary group than [these],” says CNN’s Harry Enten. “They are by far the most Democratic-aligned major demographic group. Women of color powered Hillary Clinton‘s sweep of the Southeast in the 2016 primary. Just last year, they were the base for Democrat Doug Jones‘s shocking victory in the Alabama special Senate election.”

But we all know the odds are against Harris. Not in the primaries, but in the general election. The bottom-line opposition portrayal will be “too flinty, too strident, too prosecutorial, too lefty California.” This impression alone will scare the living shit out of white Middle American pudgebods. Most Americans despise President Trump, but they’ll probably feel better about handing the White House over to a warmer, less p.c., more alpha-vibey candidate (Uncle Joe, Beto O’Rourke).

Harris is a clear and profound expression of where Democrats are at right now — mixed ethnic, female, humanist progressive. But she doesn’t have the organic “feelies” that O’Rourke has.

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Courtesy of CinnaJon, myself, Patrick Murtha, Spaceshiek, Jordan Ruimy and The Cinemaholic:

Cinnajon: “I had assumed Green Book was destined to be a Shawshank-like Best Picture also-ran, with middling box office, that takes on a second life when it hits cable. Now it sounds like the smear campaign may have provided an unexpected sympathy boost, which may buoy it to a much healthier first run than expected, if it remains in the driver’s seat. Wildly up-and-down trajectory to the finish line if this is how it actually plays out.

Jeffrey Wells: “Last night’s win was at least partly a sympathy vote after the vicious SJW attacks. I suggested a few weeks back that the industry should vote for Green Book in order to tell those odious lefty Stalinist bullies to go fuck themselves, and by golly that’s what partly happened! The p.c.-MOTIVATED haters started all the trouble, all the hate. Their post-GG takedown attempts amounted to pure viciousness and ugliness. Last night the PGA told them ‘nice try, assholes, but no sale.’ Thank you, Inkoo Kang! Thank you, David Ehrlich! Thank you, Indiewire p.c. comintern!

Patrick Murtha: “Not only is this exactly right, Jeff, but I also suspect that 2019 is going to be a year of MAJOR backlash against the PC / SJW / woke crowd. Are you sensing this also? People are just getting fed up. It is perfectly possible to continue loathing Trump & Co. while also rejecting the wokesters.”

Spacesheik: “I loved Green Book — screw the haters. The audience I saw it with loved it as well (this was in November in an AMC theater at Tysons Mall, before all the hype). They enthusiastically clapped at the end. The film is highly entertaining, with some great performances all around. I’d watch it again. I was shocked when Peter Farrelly‘s name came onscreen, its the complete antithesis of everything he’s done before – and for that he deserves credit. You can dismiss whatever you want, but you can see the film was made with a lot of love and compassion towards that era and history.”

Wells response: “Check but Green Book wasn’t made with love and compassion ‘towards’ that era as much as with a frank attitude and acknowledgment that this was what the realm of 1962 was unfortunately like.”

Jordan Ruimy: “The fact of the matter is that Green Book is a crowd-pleaser like no other. All three times I saw it the audience applauded during the credits, which almost never happens. It has an 8.3 IMDB score, by far the highest of 2018 contenders and a much-coveted A CinemaScore. It has struck a chord with Joe and Jane Popcorn. The fact that it’ll spread into an additional 1000 theatres next week could make the case for it louder and clearer.”

The Cinemaholic: “I love Green Book but the PGA win is actually going to do more harm to film’s chances than good. The woke crowd is going to tear the film to pieces. I am waiting for Oscar nominations to see how it does there. If Farrelly and Vallelonga get nominated, you know that all the p.c. journalists will have a big meltdown again. Anyway, all this is so much fun. And yes, A Star Is Born is over. Roma will win Best Picture (as I have been maintaining since September).”

CinnaJon: “It seems like it’s already run the gauntlet of being torn to pieces, and is now emerging on the other side stronger and more embraceable than when it first entered the fray. The film could be the beneficiary of people reaching an exhaustion point with outrage culture. Voting GB is a pushback to all that.”

Criterion’s new Notorious 4K-scanned Bluray delivers a serious HE “bump”. Within seconds I was sitting up in my seat and going “wow!” Satiny smooth and gleaming, mineshaft blacks, shimmering silver tones and clean as a hound’s tooth.

I’ve been watching this 1946 Alfred Hitchcock noir classic since I was a proverbial knee-high, and all through the evolving formats — theatrical, broadcast TV, VHS, laser disc, DVDs, previous Blurays. This is easily the best-looking version I’ve ever seen, and I didn’t even watch it on my premium 65″ Sony HDR 4K (which is back in Connecticut) but a run-of-the-mill 55″ Insignia 1080p monitor.

That said, the Criterion Bluray contains a fold-out brochure, and on the very front is an image of Cary Grant‘s Devlin character that will make your blood run cold.

Created by illustrator Greg Ruth, it’s the darkest and ugliest image of Grant mine eyes have ever beheld. It’s like a shot of his corpse on a morgue slab after he’s died of scarlet fever. Or a candid taken after somebody snuck into Grant’s bungalow while he was napping and smeared his face with greasepaint.

I’m not kidding — Grant’s skin is so dark and heavily shadowed he could be playing the debonair brother of Laurence Olivier‘s “Mahdi” in Khartoum. Or maybe a stand-in for Henry Brandon‘s “Scar” in The Searchers.

Seriously — this is the worst “hit” upon Grant since Daisy Ridley told Carrie Fisher that she didn’t know who he is.

On his website Ruth describes the shot as a spot-on image of a “tuxedoed and conflicted” Devlin, but it’s not even derived from Notorious — compare Grant’s bow tie in the Ruth art compared to a standard Notorious still [after the jump].

The idea, I presume, was to suggest that Devlin is a chilly, dark-hearted soul (which he arguably is until the final reel) but Ruth’s image suggests Devlin has taken an overdose of sleeping pills after lying under a sun lamp for ten hours.

Here’s an essay Ruth has written about his Notorious creations.

If I’d been the senior editor of the Notorious brochure and Ruth had submitted the Grant death-mask shot for approval, I would have made a face and said “what exactly is your problem, bruh? I mean, this image tells me there’s really something wrong with you. Have you seen the film? Grant isn’t playing the devil in Notorious — he’s playing a bothered, women-fearing, emotionally brusque CIA agent. Plus he redeems himself in the end.”

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I shouted out loud when I read about the death of journalist, critic and box-office maven Len Klady. I just heard about it 15 minutes ago…good heavens! I knew Len for a good 32 or 33 years, minimum. Not as a close friend but I sure as hell knew him in a kind of invited-to-the-same-press-event bon ami sense…”hey, Len,” the usual party chit-chat, sussing it all out, walla-walla, etc. A dark cloud over Canada. Hugs and condolences for his friends and Movie City News colleagues, and especially Len’s wife, critic and author Beverly Walker, whom I’ve also known for ages. Huge shock, very sorry. A heavy smoker, Len had been sick for a couple of months. At-home hospice care. Passed away this morning.

Movie City News box-office guy Len Klady, United 93 costar and former FAA bigwig Ben Sliney at 2007 press event. (Taken by yours truly.)

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An HE-plus essay posted on 11.26, and offered today as a taste. I’ve been reviewing my HE-plus stuff over the last six months, and a lot of it is pretty good:

Throughout my 20s I had a fairly low opinion of shrinks (i.e., psychologists, psychiatrists). And for good reason, I felt. It had to do with my assessment of a certain suburban therapist, a chilly, officious guy in his 40s whom I was forced to see when I was 17.

I had a weekly appointment with this asshole on Tuesday or Wednesday evenings at 7 pm, and as it happened one of my meetings came right after suffering a brutal beating from my dad. Our fight had erupted in the kitchen during dinner and had resulted in a gash on the side of my head and a good amount of blood soaking my shirt.

My parents had arranged me to see this guy because I was regarded at the time as incorrigible and unreachable.

I was a problem teen for the usual reasons. I hated almost everything about my gulag life. I despised my parents equally, I thought, but harbored the strongest loathings for my alcoholic dad. I had no flirtations going with any girls, and I secretly hated half of my “friends.” I felt only negative things about school, had experienced almost nothing in the way of adventure, and little joy except for the movies I slipped into and TV shows I enjoyed. My only high-school escape valve came from getting bombed with my friends on beer.

I’d been into drawing since I was 10 or so, and had done fairly well with essay writing in grade school. But all of that went south when I entered junior high and puberty, and the misery index shot up. The feelings of lethargy and depression were unceasing.

But then a switch flipped in my junior year. I began typing up and passing around a kind of satirical gossip sheet about my friends and the stupid social bullshit that went on between us. It was a primitive version of Hollywood Elsewhere, come to think, except it wasn’t very good. Clumsy syntax, sloppy sentence structure, crude this and that, an over-reliance on sexual humor.

A copy of my clumsy gossip rag was snatched by the head disciplinarian of my high school, and within a day or two my father and I were sitting in his office as he howled and harangued about the pornographic content. Wiser authority figures would have said, “You’re being a creative entrepeneur with this thing…you just have to get better at it.” All I heard, of course, was that I was a social undesirable heading for a life of shame.

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I’ve been a mildly angry guy most of my life. Contrarian, questioning authority, a pushback instinct. Born of my father’s alcoholism and aloofness, etc. Over the last 25 years of journalistic endeavor it’s been slipping out by way of the “three sees” — cerebral, channelled, controlled. But in my late teens the anger was more eruptive and hair-triggerish, and one day in a high-school hallway it almost ruined my life. Except it didn’t, thank God.

[Click through to full story on HE-plus]

It doesn’t matter if Beto O’Rourke is supported wholeheartedly by the picky progressives or if he’s the “best” Democratic choice to succeed Donald Trump in 2021, whatever the hell that means. What matters is (a) defeating the Cheeto, and (b) replacing him with someone whose instincts are basically populist and not too corporate-kowtowing, someone who’s forward-looking with a multi-ethnic reach-out attitude to the Great Middle, who’s not psychotic or delusional or necessarily beholden to the politically correct fanatics, and who respects the Constitution and the ideals and traditions of this country and who’s basically Bobby Kennedy reborn, only taller.

Beto has reportedly been searching his soul on a solo road trip (like Willem Dafoe purifying his soul in the desert) and trying to suss things out. Fine, whatever but not too much of this. He needs to just grim up and go for it, period. Step up to the plate and then figure it out as he goes along. He’ll definitely, definitely, definitely beat Trump if he wins the 2020 Democratic nomination. I can’t say that about any other candidate, declared or undeclared, right now. Including Uncle Neck Wattle.

From “Democratic Operatives Are Building Beto O’Rourke’s Campaign Without Him,” a new Atlantic piece by Edward Isaacc Dovere:

“’I think Beto’s really having a hard time making a decision, and he’s surprised at how hard it is,’ said Garry Mauro, the last Democrat to be elected statewide in Texas (in 1994, as land commissioner) and someone who’s been in touch with O’Rourke recently.

“There has been no official contact, but Mauro said O’Rourke is clearly registering how excited people remain about him, and he and his team are aware of Draft Beto. “I don’t think for one second that the Draft Beto movement is going unnoticed and doesn’t have impact. Of course it does. How could it not?”

“O’Rourke didn’t respond to a phone call or questions sent by text about what he makes of Draft Beto and whether the group’s existence is indeed informing his decision. He’s on a road trip, by himself, eating blackberry cobbler and crashing in motels, having conversations, and then posting Bukowski-style essays about what he sees.

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Robert Redford sorta knows me from way back. Not as any kind of acquaintance or favored journalist pally, but as a guy who’s been in the game since the early ’80s, and as one of the Oscar handicappers who totally fell for his solo performance in J.C. Chandor‘s All Is Lost.

I realize that Redford is more or less in a retirement mode these days and is only slightly involved in the Sundance Film Festival, if that, but I figured it couldn’t hurt to tell him of my Sundance troubles. So I sent along the following email on 1.3.19. No response so far, and that’s okay. At least I gave it a shot.

DATE: 1.3.19
TO: Robert Redford c/o Sundance Film Festival
FROM: Jeffrey Wells, Hollywood Elsewhere
RE: Sundance ’19 press pass

Bob,

This is way below your station and pay grade, but please take a couple of minutes and read this over.

After covering Sundance with a press pass for 25 years (since ’94) I’ve had my press accreditation for the 2019 festival denied by the Sundance powers-that-be. I’ll be attending anyway and catching films by the good graces of publicist pals, but it’s my presumption that my pass has been deep-sixed because I’m regarded as insufficiently “woke” in my general attitude as a film critic and columnist.

I’ve been told that it was a matter of making room for new journalists and that the number of press passes are finite, etc., but nobody believes that. My guess is that it more or less boils down to a high-school-level thing — the cool kids don’t like me any more and I’ve been elbowed out of the “in” crowd. Another way of looking at it is that I’ve been politically blacklisted.

Last year I conveyed a critical impression about the festival that may have riled a couple of people. I wrote that the festival has largely become a politically instructive experience as opposed to a festival about general cinematic excitement and stimulation. I said that Sundance ’18 felt to me like “a socialist summer camp in the snow.”

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Everyone laughed or sneered when Donald Trump announced his candidacy three and a half years ago. But when it became clear a few months later that he was connecting with the rural none-too-brights, people started to compare Trump to Lonesome Rhodes in A Face in The Crowd, the 1957 drama about the rise and fall of a country-boy demagogue and sociopath, played by Andy Griffith.

Trump is anything but “country,” of course, but he’s just as much of a media-attention whore and a bullshit artist as Rhodes became by Act Three of Budd Schulberg‘s script.

It could be argued that the fictitious Rhodes was a much savvier guy than Trump could ever hope to be, and that Trump is more of an unregenerate liar and a stone sociopath. And yet here we are in January ’19, and just like that woman at the end of Kazan’s film who says “why, he’s a monster!”, a fair-sized portion of the chumps who voted for Trump are scratching their heads and wondering why they fell for his act while pundits everywhere long ago agreed that Trump was Rhodes and vice versa. The analogy was undeniable in early to mid ’16, but now it’s a so-whatter.

In short Criterion waited way too long to release their 4K Bluray (due on 4.23.19). They should have released it right after Trump’s election.

On top of which I’m disappointed that they’ve chosen to present it at 1.85, which means they’ve sliced off the top (or bottom) of the 1.78:1 image that was delivered on the 2005 DVD version. But that’s what they do. Just as Marc Bolan loved to boogie, Criterion likes to cleaver.

Harry Stradling‘s needle-sharp, well-framed, occasionally atmospheric cinematography (he also shot Kazan’s A Streetcar Named Desire) has always looked great in previous formats; A Face In The Crowd should look extra snappy in 4K.

Please, please nominate Paul Schrader and Ethan Hawke in their respective First Reformed categories — Best Original Screenplay and Best Actor. Don’t embarass yourselves by blowing off Hawke, who’s been awarded and nominated by everyone from sea to shining sea. Schrader is a living legend in his seventh decade, and First Reformed is his big comeback film — his best since Hardcore.

Please stand up to the SJW haters who’ve tried to torpedo Green Book — please tell these strutting lefty fascist bullies to go EFF themselves by nominating Peter Farelly‘s film for Best Picture, Best Director, Best Actor & Supporting Actor, etc.

Please temper your urge to go Roma, Roma, Roma all the way, at least as far as the Best Foreign Language Feature category is concerned. For the Best Foreign Language Feature of the year is — forgive me, Netflix — Pawel Pawlikowski‘s Cold War. Really. It is. Consider the fact that the European Film Awards went Cold War, Cold War, Cold War all the way.

And do not fail to nominate Cold War dp Lukasz Zal for his gleaming monochrome cinematography. Ignoring Zal would be flat-out felonious.

Marielle Heller‘s Can You Ever Forgive Me?, which I’ve seen four times, is UNQUESTIONABLY one of the best films of 2018. Please nominate accordingly — Melissa McCarthy for Best Actress, Richard E. Grant for Best Supporting Actor, Heller for Best Director, etc.

For the sin of not connecting with Joe and Jane Popcorn. you’re planning to give Damien Chazelle’s First Man the cold shoulder as far as the Best Picture category is concerned. You know it, I know it. But you are going to nominate Justin Hurwitz for his magnificent score. Maybe you could squeeze out some additional love for this sadly unloved art film, which bravely forsakes the Ron Howard approach to a Neil Armstrong biopic in favor of an intimate “you are Neil” scheme?

Observation #1: Yesterday Critics Choice awards were well handled all around, despite the fact that some felt it was a tiny bit chilly inside. The organizers were counting on body heat to warm things up, which worked to some extent. The outside weather was nonetheless damp and blustery. Observation #2: Free cups of Ample Hills ice cream were handed out. I was a pig, helping myself to two cups. By the way: I can’t be the first person to interpret “Ample Hills” as a randy euphemism. As in Alfred Hitchcock‘s observation about Grace Kelly in a gold lame dress: “There are hills in that thar gold.” Did I choose the name “Ample Hills”? No.

Eighth Grade‘s Elsie Fisher was seated three or four feet from Hollywood Elsewhere during the Critics Choice awards.

Tatyana and makeup artist Jan Sewell, who worked on Bohemian Rhapsody and the upcoming Wonder Woman 1984.

Ample Hills ice cream stand.

Rep. Tulsi Gabbard said today she will run for president in 2020. “I have decided to run and will be making a formal announcement within the next week,” the Hawaii Democratic congressperson told CNN’s Van Jones during an interview slated to air early Saturday evening on CNN’s “The Van Jones Show.”

A 37 year-old Iraq War veteran, Gabbard was elected to Congress in 2012. Seemingly more progressive than Texas Congressperson Beto O’Rourke and arguably as much of a high-charisma candidate as he, Gabbard currently serves on the House Foreign Affairs Committee. She is the first American Samoan and the first Hindu member of Congress.

“There are a lot of reasons for me to make this decision,” Gabbard said. “There are a lot of challenges that are facing the American people that I’m concerned about and that I want to help solve,” alluding to health care access, criminal justice reform and climate change.