This is a reach, I realize, but if Harmony Korine “has been coming over” to the North Miami home of Jared Kushner and Ivanka Trump “to study the Torah,” then it’s probably within the realm of social possibility that Korine’s employee, former IndieWire critic and editor Eric Kohn and current honcho of Korine’s EDGLRD…it seems at least socially possible that Kohn might also one day break bread with the Kushners somewhere in that region. Imagine…Kohn occupying only a short social spitting distance between himself and The Beast.
There’s a rumor swirling around that Kushner is the main funder of EDGLRD.
There’s every reason to assume that last week’s research screening of Steve McQueen‘s Blitz, an ensemble narrative about the Nazi bombing of England in the early 1940s, was encouraging to all concerned.
A viewer told World of Reel‘s Jordan Ruimy that Blitz constituted a “major achievement…both epic and intimate with some jaw-dropping [visual] filmmaking [chops].”
London filming began in November 2022; shooting also took place in Greenwich last February.
Perhaps a Cannes premiere six months hence? McQueen is a friend of that festival.
The Blitz cast includes Saoirse Ronan, Leigh Gill, Harris Dickinson, Erin Kellyman, Stephen Graham, Paul Weller, Kathy Burke, Benjamin Clementine, Hayley Squires= and Sally Messham.
Brian Becker and Marley McDonald‘s Time Bomb Y2K is a fully archived (no present-tense interviews) recap of the bizarre concerns within media and governmenty circles that were felt throughout ’99 about the Big Turnover from the 20th to 21st Century.
“Bizarre” because nobody I knew expressed the slightest concern about any of it. (I listened to the frettings of one or two Nervous Nellies…nothing.) The kids and I flew to Europe in late December. We stayed in Paris (a little place on rue Durantin in Montmartre), Brussels and in the medieval town of Rothenberg, Germany, and then returned to Paris for a New Year’s Eve crescendo. Nobody cared, all cool, nothing happened, etc.
Jamie Lee Curtis‘s praising of Taylor Swift happened some time ago, but it inspired a kneejerk response today. I tapped this out at 7:30 am this morning:
She’s not a “fantastic talent.” Swift has obviously tapped into something huge over the years, despite what any fair-minded critic would be forced to call a mediocre musical repertoire (with the exception of ‘Lover” and two or three others).
Sorry, man, but her music just doesn’t have the punchy hooks or the occasional angularity or the exciting textures and all those side doodles, mad swerves and whizzing fastballs that we expect from major performers.
But you know what? The Swifties like what she’s serving just fine. Because they are uncencumbered by taste.
Swift’s songs lack soul, depth, complexity, even occasional stabs at poetry. She’s a rural singer-songwriter at heart, one who began in he country-music field (which in itself speaks volumes), and who basically sings about ex-boyfriends.
If I could make Paul Mescal completely disappear (not killed but gently, painlessly transformed into a vapor ghost….a wandering spirit)…if I could get rid of this guy by clapping my hands three times, I would clap my hands three times. Otherwise I mean none harm. I think none harm. I want none harm. I’m just imagining his absence.
On top of which Andrew Scott‘s head is too big for his narrow shoulders, and I don’t like the mint-green-and-white vertically striped shirt.
All Of Us Strangers is a classy, earnestly felt, slightly above-average film about…well, about reimagining Taichi Yamada‘s horror-tinged original to suit a gay agenda, and secondarily about affirming one’s identity with long-dead parents. A decent job.
After seeing it in Telluride three and a quarter months ago a new cinematic term had formulated in my head — “beard-stubble sex scenes.”
To my great surprise and delight, Christy Hall‘s Daddio, which I was remiss in not seeing during last year’s Telluride...
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