Lucy In The Sky was originally called Pale Blue Dot — an even cooler title would have been Marbled Bowling Ball.

After a lengthy space shuttle mission, astronaut Lucy Cola (Natalie Portman) returns to earth and begins an affair with fellow astronaut Mark Goodwin (Jon Hamm). She falls into a vaguely depressive mindset and then a downward spiral as she begins to feel increasingly alienated from her family — a condition that can allegedly afflict those who spend a long time in space. Things take a turn for the worse after Goodwin starts another affair with an astronaut trainee.

Noah Hawley‘s film, due for release later this year through Fox Searchlight, is “loosely based on astronaut Lisa Nowak‘s alleged criminal activities around her romantic involvement with fellow astronaut William Oefelein.”

What is this Once Upon A Time in Hollywood poster showing Margot Robbie as Sharon Tate? Standing in front of the Fox Village in her black turtleneck and go-go boots and blah blah. I’ll tell you what it is — it’s nothing. I’m also informing the Sony guys that the long, drawn-out Hollywood glamour-tease phase of this film’s marketing campaign is over here and now, and that things have to get more substantive from here on. Really. The first trailer (where is it?) has to have aroma, atmosphere and teeth.

Read more

We now know that Quentin Tarantino‘s Once Upon A Time in Hollywood is locked for Cannes ’19, and that Dexter Fletcher’s Rocketman will almost certainly appear there also.

And now Variety‘s Cannes ’19 prediction piece (written by Peter Debruge and Elsa Keslassy, and co-reported by John Hopewell, Nick Vivarelli, Patrick Frater, Leo Barraclough and Richard Kuipers) assures that Benedict Andrews‘ Against All Enemies, a drama about the FBI’s ghastly persecution of poor Jean Seberg from the late ’60s and into the ’70s, is more or less firmed.

Pic stars Kristen Stewart as Seberg, and costars Jack O’Connell, Anthony Mackie, Vince Vaughn, Margaret Qualley, Zazie Beetz, Stephen Root and Colm Meaney.

A March ’17 draft of Joe Shrapnel and Anna Waterhouse‘s script, titled Seberg, ends well before Seberg’s 1978 Paris suicide, when she was 40. The final scene in the script is about Seberg learning from a sympathetic FBI guy (Jack O’Connell) about a fictitious FBI allegation that the father of a baby girl born to Seberg on 8.23.70 (and who died two days later) was Black Panther activist Raymond Hewitt.

Seberg was nonetheless romantically linked with another Black Panther member, Hakim Jamal (played in the film by Anthony Mackie).

From Seberg’s Wikipage: “In 1970 the FBI circulated a false story that the child Seberg was carrying was not fathered by her husband Romain Gary but by Raymond Hewitt, a member of the Black Panther Party. The story was reported by gossip columnist Joyce Haber of the Los Angeles Times, and was also printed by Newsweek magazine.

“Seberg went into premature labor and, on August 23, 1970, gave birth to a 4 lb (1.8 kg) baby girl. The child died two days later. She held a funeral in her hometown with an open casket that allowed reporters to see the infant’s white skin, which disproved the rumors.

Read more

“Charles de Gaulle said old age is a shipwreck, so the question for the United States is whether it should consider the age of likely presidential candidates who, statistics and experience tell us, stand a pretty good chance of foundering on the rocks of old age. I’m talking Joe Biden and Bernie Sanders.

“Sanders and Biden are about the same age. Sanders is 77, and Biden 76, and because the next president will be inaugurated in 2021, I can say without fear of persnickety fact-checkers that both men will be almost two years older by then. It is not unlikely, therefore, that the next president of the United States will be well into his 80s before his first term is up. That’s a shocking figure.

“Biden and Sanders have waited too long.

“A pledge to serve only a single term would not reverse the clock. It would only hobble the president, making him a lame duck before his time. Of course, the ultimate decision is their own, but they have to know they will probably decline. If they don’t think so, they have gotten old without getting wise.” — from “Joe Biden and Bernie Sanders are too old to be president,” a Washington Post opinion piece by columnist Richard Cohen and posted on 3.18.

If and when Terrence Malick‘s Radegund debuts at the 2019 Cannes Film Festival, it will have spent 30 or 31 months in post — roughly six or seven months longer than the average length of time that Malick’s last three films — To the Wonder, Knight of Cups and Song to Song — have logged in the editing room. Will Mr. Wackadoodle actually risk screening his German-language antiwar film to Cannes critics? My instincts tell me no — Malick is a hider, a ditherer, a lettuce-leaf tosser. He prefers the cool shadows of the cave to the hot glare of exposure.

“Case of the Missing Radegund,” posted two months ago: During the summer of 2016, or two and two-thirds years ago, Terrence Malick shot principal photography on Radegund, a fact-based anti-war drama set in Austria and Germany. Directed and written by the press-shy auteur, the German-language drama is about Franz Jagerstatter (August Diehl), an Austrian conscientious objector who was executed by the Third Reich for refusing to fight.

Read more

The parliamentary beheading of Al Franken pains me still. It hurts. I get why Senate Democrats felt they had to cut him loose (i.e., they wouldn’t have any moral authority in subsequent sexual harassment cases if they hadn’t). But God, what a shame. Plus the fact that the initial Leeann Tweeden USO accusation felt to me like a semi-orchestrated rightwing hit job. I’m not saying Sen. Kirsten Gillibrand was wrong to call for his resignation, but it does muddle my perception of her. She’s not going to make it anyhow — face it.

I know the issue of Sen. Franken is hard for many Democrats. But he had eight credible sexual harassment allegations against him, and I had to choose whether to stay silent, or not. If some megadonors have a problem with that, that's on them. pic.twitter.com/POLWcTQUsY

— Kirsten Gillibrand (@SenGillibrand) March 19, 2019

Heartfelt thanks to the Los Angeles publicists who haven’t invited me to recent screenings of Craig Zahler‘s Dragged Across Concrete (Summit, 3.22). I became a Zahler fan after catching 2017’s Brawl in Cell Block 99. From Jordan Ruimy: “Just saw Concrete…FANTASTIC. Grim, Tarantino-esque, politically incorrect, ballsy and, above all else, incredibly well-directed. Is there such a thing as ‘right-wing avant-garde’? Because this deserves to be called that.” Deadline‘s Pete Hammond raved earlier today.

Posted seven years ago (3.25.12): “I still have problems with the Grapes of Wrath diner scene, which, as mentioned a couple of times, is a near-perfect thing until the very end when John Ford‘s sentimentality ruins it. If he’d only ended the scene with the trucker telling the waitress, ‘What’s it to ya?’

“This has always been Ford’s problem, and why his films are best appreciated in limited doses. Not to mention his tendency to prod his supporting actors into over-acting and doing the ‘tedious eccentricity’ thing — Ford’s ultimate Achilles heel. The overacting of that waitress is especially painful.”