We caught Noah Baumbach‘s Marriage Story last night at…well, the Middleburg Film Festival schedule said 7:30 but it started at 8 pm. Par for the course. The second viewing played just as strongly for me as it did in Telluride six weeks ago, and Tatyana was deeply impressed. She prefers it to Kramer vs. Kramer, she said this morning.

The Best Actor competish is definitely between Adam Driver, who plays the diligent if stressed-out theatre director Charlie, and Joaquin Phoenix‘s Arthur Fleck. The latter is certainly the flashier, envelope-tearing contender while Driver’s performance is obviously more grounded in the recognizable day-to-day, and then there’s that scene where he sings Stephen Sondheim‘s “Being Alive.”

Baumbach showed up for a pre-screening bow and then returned for a q & a with John Horn.

When the death of midtown Manhattan’s Paris theatre was announced in mid June, an HE commenter suggested that Netflix could step in and turn the Paris into a prime exhibition opportunity for original Netflix features.

Lo and behold, this is precisely what has happened as Netflix has announced that Noah Baumbach‘s Marriage Story, a major Oscar pony along with Martin Scorsese‘s The Irishman, will begin showing at the Paris on Wednesday, 11.6. Netflix will begin streaming the Adam Driver-vs.-Scarjo divorce drama on 12.6.

Even though The Irishman will begin streaming on 11.27, it would nonetheless make sense to move the 209-minute gangster saga into the Paris after Marriage Story departs. New Yorkers should make every effort to see Scorsese’s film in a theatrical setting. It should not be experienced with bathroom, kitchen-snack, pet-feeding and take-out-the-garbage breaks — trust me. The Irishman will also play at the Belasco (111 W. 44th Street) from 11.1 through 12.1.

Concurrent with the Paris booking Marriage Story will also play at Manhattan’s Landmark 57th West, the IFC Center, and Brooklyn’s Nitehawk Prospect Park. Los Angeles will host two exhibition venues, at West L.A.’s Landmark and Silver Lake’s Vista.

Everyone believes that Charlize Theron is a likely Best Actress contender for her portrayal of Megyn Kelly in Bombshell. However things turn out in that regard, it seems virtually assured that the makeup people behind her transformation into Kelly will be nominated in their category. As far as I can discern from the IMDB, the principal architects are head of makeup Vivian Baker along with Kazu Hiro, the prosthetic artist who created and applied the jutty Kelly chin. (Not to mention the cheekbones.)

Officially speaking, from the horse’s mouth:

Best Special Make-up Effects / Kazu Hiro, Prosthetic Makeup Designer; Vivian Baker, Makeup Department Head and Richard Redlefsen, Prosthetic Makeup Artist.

Best Contemporary Make-up / Vivian Baker, Makeup Department Head; Cristina Waltz, Key Makeup Artist; and Richard Redlefsen, Makeup Artist.

HE is once again urging anyone with the slightest interest in Montgomery Clift to catch Robert Clift and Hillary Demmon‘s Making Montgomery Clift (1091 Media, 88 minutes, currently streaming). As I stated on 10.9, the doc turned out to be much better than I initially expected. I’ve read two Clift biographies (Robert LaGuardia‘s “Monty” and Patricia Bosworth‘s “Montgomery Clift: A Biography“), and I came away from this viewing what felt like a more intimate, finely textured understanding of who the poor guy really was.

The film is basically an assemblage of home movies, tape recordings and talking heads mixed with first-hand narration by co-director Clift, the son of Clift’s older brother, William Brooks Clift (1919–1986) and journalist Eleanor Clift, with creative collaboration from Demmon.

Earlier today reps for the film offered this excerpt in which Clift’s onetime boyfriend Jack Larson (Jimmy Olsen in The Adventures of Superman) recalls the start of their relationship sometime in late ’52 or thereabouts. Merv Griffin was peripherally involved.

…but you can’t take the Hoboken out of the guy.

During a “bitter” March 1993 child custody hearing against Woody Allen, Mia Farrow testified that “a former husband had offered to have both of Allen’s legs broken, but added that he had only been joking.” According to a 3.27.93 Independent report, Farrow was asked which of her ex-husbands — Frank Sinatra or Andre Previn — was more likely to make such a suggestion, but the question was disallowed. Four years later Farrow told Howard Stern that it was Sinatra, of course, who made the offer. 75% joke, 25% serious. Possibly 66% vs. 33%.

I’ve either forgotten this or never heard it to begin with — one of the two. The pertinent portion begins at 3:33 mark.

Not being to able to attend this hurts a little. Award season is often like this — if you commit to one thing you always miss out on something else.

10.17, 8:20 am: Landed at Dulles at 7:10 am. Currently enroute to Middleburg in a snazzy black Lincoln provided by Dulles Executive Sedans, and driven by a nice guy named Mido. You can taste the moneyed, honeyed Virginia culture immediately. The topography is slopey, hilly…farms, Colonial architecture, sprawling estates, horse stables NBC. Fall foliage has begun, but the Technicolor hues won’t kick in until Halloween.

Wednesday evening, 10.16: Later tonight Tatyana and I are catching an Alaska Airlines flight to Dulles (IAD) and the four-day Middleburg Film Festival. Departing at 11:20 pm, arriving at 7:20 am — exactly five hours. If you can somehow manage to nod off for a couple of hours, a red-eye flight isn’t so bad. I intend to try this time by way of over-the-counter pills.

Because I was running around today, I didn’t post a review of Zombieland: Double Tap (Columbia, 10.18). Okay, I’m lying somewhat — I didn’t want to write about about Ruben Fleischer’s film because I despised it from the get-go, and I didn’t want to wade into that.

I was totally down with the original Zombieland (’09) and especially loved Bill Murray‘s cameo, but the newbie is lazy and glib and way too self-regarding. I was hating it by the ten-minute mark. I want credit for staying to the end.

Zombie comedies aren’t funny. They never have been. Social commentary or satire has always been the point, but the only way to go is to take flesh-eating ghouls seriously. My all-time favorite is still George Romero‘s Dawn of the Dead.

This seems like a sensible projection on Jenelle Riley‘s part. I won’t be seeing Little Women until next week, but I’ve been hearing since last summer that Florence Pugh gives a standout performance. I happen to be a special fan of Penelope Cruz‘s work in Pedro Almodovar‘s Pain and Glory.

Even I, a more or less dedicated non-Star Trek fan, fell for Galaxy Quest. I didn’t just “like” it — I laughed and chortled and pretty much fell in love. Not when it opened on 12.25.99, but on cable a year or two later. I am therefore totally into Never Surrender: A Galaxy Quest Documentary (Fathom Events, 11.26), a fan-propelled celebration of Galaxy Quest‘s 20th anniversary.

Boilerplate: “Featuring archival, behind-the-scenes footage and exclusive interviews with many Galaxy Quest cast members and produced by the people behind ScreenJunkies, Fandom and Honest Trailers, Never Surrender is an independently produced documentary that explores the growing fan community behind GQ, which was comically inspired by the Star Trek franchise and its passionate, core fanbase, yet has developed its own rabid fanbase over the years.”

In the trailer Galaxy Quest producer Mark Johnson notes that certain parties at DreamWorks, the distributor, didn’t really get what the movie was — not a kid-friendly thing but an inside-baseball, wink-wink comedy for semi-adult fans of the Star Trek TV series and feature films.

I never did any reporting on the backroom politics, but I’m presuming that this alleged “what the hell is this movie?” attitude came at least partly from DreamWorks honcho Walter Parkes.

I’m offering this supposition because Parkes didn’t get Cameron Crowe‘s Almost Famous either. He was the guy who pushed for several unwarranted cuts while the theatrical cut of Crowe’s film was being prepared; the longer Director’s Cut (or Untitled) version was a much more satisfying film iMHO.