I know the Brett Kavanaugh handshake blowoff moment happened a couple of days ago, but I can’t get over the look of complete terror on the Supreme Court nominee’s face. All he seemed to sense was that the guy who wanted to shake his hand (i.e., Fred Guttenberg, father of Parkland shooting victim Jaime Guttenberg) wasn’t a Republican pally, and he freaked. “Aaaagghh!…it’s one of them!” Kavanaugh seemed to say to himself. Look at his face. What kind of reprehensible scumbag ignores a handshake reach-out? What did Kavanaugh think was going to happen? That Guttenberg might try to stab or shoot him?
The Hollywood Elsewhere-JordanRuimy pad (NE corner of Elm and McCaul street) is a two–bedroomshoebox on the 11th floor of a grim high-rise full of warm, stale air in the hallways. The place is roughly the size of twosemi–spaciousprisoncells with queen-sized beds plus a small bathroom and a kitchen made for the Wizard of Oz midgets.
It’s not a bad place — I just need to get used to it.
I conked out for a couple of hours this morning, and then picked up my press pass at the Bell Lightbox, and then hung out in the press lounge for an hour or so, and then arranged to attend the opening-night showing of Michael Moore‘s Fahrenheit 11/9. I wanted to also catch a 6:30 pm showing of Outlaw King but Albert Tello couldn’t get me a ticket — I might attend the Outlaw after-party though.
The first big press screening of A Star Is Born happens early tomorrow morning (9:15 am) at the TIFF Bell Lightbox. Wakey-wakey at 6 am, write for 90 minutes or so, arrive at the Lightbox around 8 or 8:15 am, write a bit more while waiting in line, etc.
All hail the late, once-great Burt Reynolds, who passed this morning at age 82. Reynolds enjoyed a 13-year run at the top from ’72 to ’84 or thereabouts, and kept plugging away over the next 34 years (and who tasted a brief comeback after his porn-producer performance in Paul Thomas Anderson‘s Boogie Nights). But now he’s gone, a physical being no more, floating in the clouds…a spirit flooring a ghostly Trans Am through the bayou with a wailing bubble-gum police car chasing his ass.
Deliverance, Shamus, The Man Who Loved Cat Dancing, The Longest Yard, At Long Last Love, Hustle, Gator, Nickelodeon, Semi-Tough, Smokey and the Bandit, The End, Hooper, Starting Over, Rough Cut, The Cannonball Run, Paternity, Sharky’s Machine, The Best Little Whorehouse in Texas, Best Friends, The Man Who Loved Women and Boogie Nights.
“Another Reynolds Assessment,” posted on 3.26.18: “‘Be kind’ means you can lightly allude to Reynolds having messed up his acting career by making one arrogant, bone-headed move after another after another, etc. Those fast-car movies. Blowing his post-Boogie Nights momentum. Getting bad plastic surgery, wearing those terrible rugs. But you can’t actually mention it.
Posted on 8.4.14: “Reynolds initiated his demise by making all those stupid shitkicker paycheck movies with the yokelish Hal Needham. Reynolds had a pretty good run at the top (’72 to ’84), and then he was done.
“Reynolds-the-actor (as opposed to Reynolds-the-box-office-attraction) was great in Deliverance, half-good in Shamus, The Man Who Loved Cat Dancing, At Long Last Love, regrettable in Lucky Lady and Hustle, good in Semi-Tough, very good in Starting Over, good in Sharky’s Machine and Best Friends, decent in The Man Who Loved Women…and that was it until he played an older thief in Bill Forsyth‘s Breaking In (’89). And then nothing came of that. And then along came Paul Thomas Anderson‘s Boogie Nights (’97) and Reynolds called it shit and fired his agent, etc.
Posted from Key West on 11.17.16: Burt Reynolds sat for a q & a this evening at Key West’s San Carlos Institute following a screening of Jesse Moss‘s Bandit (which isn’t half bad).
Good old Burt. His usual, familiar smoothie self — cool and collected, deadpan humor, mellow vibe. But with a beard and tinted shades. The audience was laughing, applauding, in love. Burt’s legs are on the frail, shaky side but he walked out without a cane — good fellow. Here’s an mp3 of the whole thing. The interviewer was Rolling Stone critic David Fear.
Variety‘s Kris Tapley is reporting that AMPAS has turned tail on its proposed Best Achievement in Popular Film Oscar, and that the expected Popular Oscar duel between Black Panther and A Star Is Bornwon’t be happening.
In explaining the sudden turnabout, the Academy has announced that the planned “popular” Oscar “merits further study.” Translation: Too many people (Tapley included) were appalled and hugely pissed off by the popular Oscar idea, lamenting that it would dilute or denigrate the Oscar brand, and so there won’t be a Best Achievement in Popular Film Oscar handed out at the upcoming 91st Academy Awards.
HE to Team Roma: Before today there was a likely scenario that Roma might take the Best Picture Oscar (i.e., which had recently come to be more defined as the trophy for serious achievement in cinematic art) with either A Star Is Born or Black Panther winning the Popular Film Oscar. Now…who knows?
HE to Disney’s Black Panther awards-campaign team: Before today you had only one serious competitor for the Popular Film Oscar (i.e., Bradley Cooper‘s A Star Is Born) and a decent shot at snagging a regular Best Picture nomination. Now you won’t be taking home any gold at all because you’re not winning the regular Best Picture Oscar. You’ll be nominated but that’s all. Sorry, guys, but it’s over.
AMPAS stated that while they remain committed “to celebrating a wide spectrum of movies” (i.e., a Best Popular Film Oscar), they now recognize that implementing this new award nine months into the year “creates challenges for films that have already been released.” Translation: We got scared and decided to pull the plug for the time being, and take a fresh look at the situation next spring or summer.
Academy CEO Dawn Hudson: “There has been a wide range of reactions to the introduction of a new award, and we recognize the need for further discussion with our members. We have made changes to the Oscars over the years — including this year — and we will continue to evolve while also respecting the incredible legacy of the last 90 years.”
I recently conveyed suspicions and issues about David Gordon Green‘s Halloween (Universal, 10.19), but I have to acknowledge approval of this poster, which is presumably fan-created. Three wrongos: (1) the film is mis-identified as Halloween Returns, (2) it shows Jamie Lee Curtis wearing her trademark pixie cut, and (3) the physique of 60-year-old Michael Myers (aka “the Shape”) is too slender. But it’s a catchy sell regardless.
Update: Hollywood Elsewhere’s Toronto-bound Air Canada flight arrived at 5:30 am. Currently sitting on UP Express train, heading for Union Station.
Earlier: HE’s plane leaves LAX at 10:15 pm, and will touch down at Pearson Airport just before 6 am. I’ll probably be at the shared pad (an 11th floor, two-bedroom place about eight blocks north of the Toronto Lightbox, a block or two west of University Ave.) by 8 am or thereabouts.
(1) “In 2016, every person who spent even a nanosecond feeling good about the fact that we were going to elect our first woman president, helped to elect Donald J. Trump.”
“As If We Needed Reminding,” posted on 2.7.17: “The primary blame for the Trump catastrophe is born, of course, by stubborn, racist, pea-brained rurals, who’ve always been and always will be fearful, gullible, low-information and dumb as fenceposts. But the real architects of the current horror are the corporate-embracing Democratic establishment machine types and particularly the evangelical genderists (‘It’s time for a woman in the White House, even one as deeply unappealing as Hillary!’).
“The fatal factor wasn’t that a woman ran for President, but that the woman who ran was the braying, testy, eye-baggy, fainting-like-a-sack-of-potatoes Hillary Clinton, who promised nothing change-y, and nothing beyond the fact that she was highly experienced (which of course she was) and would handle her Presidential duties in a cautious, responsible way (ditto).”
Moore also tells Kilday, “As things stand right now, everybody should operate as if it’s a two-term Trump,” but if the Dems are to unseat him, “we need beloved figures running. Say what you want about Trump, but tens of millions watched his show. We need Tom Hanks, Oprah, Michelle Obama. Who would not vote for Michelle Obama?”
This is exactly and precisely why (and it kills me to say this) there’s a better-than-decent chance that Trump might be re-elected — because we’re less than four months away from 2019 and there still isn’t a beloved Democrat who’s talking about running against Trump…no one. And the dumbshits won’t budge.
Michelle Obama won’t run, but if she ran she’d probably win. Oprah Winfrey could run, but she’s too chicken. Meryl Streep could run but she probably won’t even give it serious consideration. Tom Hanks could theoretically run but he won’t. Joe Biden is cool but he’s too old and his neck wattle is way too large — it’s like a Manitou head growing on the front of his neck. Elizabeth Warren is a good person but she’s a finger-wagging schoolmarm. I love Kamala Harris but the dumbshits don’t know her and she lacks charisma.
It’s been speculated that the White House insider who wrote today’s anonymous N.Y. Times op-ed piece is subconsciously or perhaps consciously looking to be outed. I realize, of course, that many D.C.-based journalists (including those who work for the Times) are looking to unmask him or her as we speak, but if I were an editor involved in this I would say “leave well enough alone…this person, among others, is trying to course-correct an unruly, adolescent, ill-informed, obviously destructive U.S. President…how does it help anyone or anything to out this person?”
N.Y. Times op-ed editor James Dao: “This was a very strongly, clearly written piece by someone who was staking out what we felt was a very principled position that deserved an airing.”
From Chris Willman’s Gold Derby Telluride wrap-up, posted on 9.4: “It may seem unlikely that the world’s shortest film fest showcased three of the next five Oscar nominees for Best Actress, but there’s a good chance that just happened.
“Emma Stone (The Favourite), Nicole Kidman (Destroyer) and Melissa McCarthy (Can You Ever Forgive Me?) all have to be considered major contenders — McCarthy fitting that bill most surprisingly of all at the end of what has to be one of the buzziest weekends of her life.”
HE to Willman: Kidman hasn’t a wisp of a chance, but the person who created her Dawn of the Dead zombie makeup may be recognized.
Resume: “In two of these cases (Can You Ever Forgive Me? and Destroyer) the director was also a woman — the estimable Marielle Heller and Karyn Kusama, respectively — and largely female crews were employed, adding to the sisters-are-filmin’-it-for-themselves feel.
“Then consider that two of the very best movies at Telluride were ensemble films that you only gradually came to realize featured nearly all-female ensembles — Yorgos Lanthimos‘ wickedly funny The Favourite and Alfonso Cuaron‘s touchingly nostalgic Roma — both made by presumably highly empathetic male auteurs.
“Finally, in putting a feminist cap on Telluride, consider that probably the most celebrated documentary of the festival was Reversing Roe, a Netflix pic about the history and current import of the abortion debate.”
“At Eternity’s Gate doesn’t pretend to be ‘definitive.’ It’s a drama of moments, fragments, impressions, and though it shows us van Gogh as a haunted soul, locked in a battle with his mental problems, we hear about those demons more than we actually see them take hold.
“The film’s vision of van Gogh is honest and incisive and, at the same time, unabashedly romantic. You might call it a portrait of the artist as the world’s first flower child. I mean that as praise.
“Willem Dafoe hasn’t had a role since The Last Temptation of Christ that allows him to combine agony and ecstasy, devotion to a higher calling with…well, a messiah complex as majestically as this one does.” — from Owen Gleiberman‘s 9.3 Variety review.
From Owen Gleiberman‘s pan of Errol Morris‘s American Dharma: “Steve Bannon can be specific about the things he wants to destroy (like NATO), but if Morris asks him what he wants to build in their place, he’ll cough up a homily about the people taking back their power. He’ll tell you that he’d trust 100 random rubes wearing MAGA hats at a Trump rally to run the government more than he would the 100 people who actually run it. His political ‘philosophy’ comes down to throw-the-bums-out meets Being There.
“Yet Morris doesn’t question Bannon, let alone push him to the wall, on any of this. At one point, Morris says that he thinks there’s a ‘good’ Bannon and a ‘bad’ Bannon, and that the bad Bannon is the one who would let corporations destroy pollution laws. How, Morris asks, does that serve the public? And how does it not serve the elites?
“Bannon never answers him, and this sets up a softball pattern that’s repeated throughout the film: On the rare occasions when Morris gets around to challenging Bannon (once every 20 minutes or so), Bannon ducks the question, and that’s that. He never punctures his freedom-fighter-for-Joe-Sixpack firebrand congeniality, and the film moves on to something else. At one point Morris calls Bannon ‘crazy,’ but Bannon’s discourse is so rational on the surface that it’s never clear if Morris understands what Bannon’s craziness is truly about: his desire for a revolution that he’s the tipping point of. He’s an armchair megalomaniac — an elitist in warrior’s clothing.”
In last night’s “Best Picture Race Is Over Then?” piece, I expressed shock and disappointment about Kris Tapley‘s 9.4 Variety column, “Oscar Voters Are Sure to Go Gaga for Bradley Cooper’s A Star Is Born.” Tapley said that A Star Is Born has “the muscle to achieve what only three films in movie history ever have: Win all five major Academy Awards (picture, director, actor, actress, and screenplay)…it’s that kind of accomplishment.”
I said I’ve nothing against the idea of Cooper’s film sweeping the Oscars, but I find it deflating to read such a declaration (a) only four days into September, (b) before the Toronto Film Festival has even begun and (c) with awards season having kicked off only six or seven days ago.
Tapley comment-thread response to HE: “[What I wrote is] not a prediction; it’s a description of the film’s capabilities. I would’ve thought that obvious. Who would predict the Best Picture winner right now?”
HE to Tapley: Have you declared that one or two of the other apparent or presumptive Best Picture contenders this year “have the muscle” to achieve “what only three films” have managed in history, which is to win the top five Oscars — Best Picture, Director, Actor, Actress and Screenplay? You said it’s “that kind of accomplishment and more.” What other 2018 award-season release has, in your opinion, brandished this kind of potential or pedigree thus far?
Tapley to HE: “I have not. But that still doesn’t make it a prediction. I also said in the year of pandering with a ‘popular’ Oscar it would be quite the moment to hand a movie like Roma the Best Picture Oscar. That’s not a prediction either. If me saying ‘I’m not predicting this will win Best Picture, I’m just saying it has what it takes to do so’ isn’t enough, well, shit. What’s a guy to do?”
