Ron Howard‘s Eight Days A Week: The Touring Years, which I saw last night, reminded me that I’m really sick of listening to those same old recordings of the Beatles’ greatest hits from their early period (pre-Rubber Soul). You reach a saturation point with certain songs. Obviously Howard understands this, and yet he plays track after track of these top-40 groaners, over and over and over and over…Christ.

The reason, I’m presuming, is that Howard wants the doc to reach younger people who aren’t sick of these songs. That’s fine from a marketing standpoint but deathly from the perspective of any longtime fan. All I know is that I literally can’t listen to those standard-issue versions of these same old songs any more. The sound waves bounce off my ears because there’s a counter-voice inside me going “no…not again!”

There was one moment that really got me, and that was mainly because I’d never listened to the Beatles Anthology 1 album, a collection of alternate takes that covers their recordings from the late ’50s to late ’64. I had therefore, until last night, never heard a rough but very cool alternate version of “Eight Days A Week.” It begins with an “ooooo!” a cappella (joined by amped acoustic guitar) and finishes with the same “ooooo!” backed by full electric accompaniment and drums. (Plus the “week” in the chorus is sung in a harmonized falsetto.)

I’m telling you this track is 10 to 15 times better than the final version that everyone’s heard 17,000 fucking times. Listen to it — the final six bars of “oooo!” are perfect.

Fact #1: Luca Guadagnino‘s sensual, scintillating A Bigger Splash is one of 2016’s best films and was easily one of the two or three finest of the winter-spring season. Fact #2: Americans stayed away in droves. A Bigger Splash made a lousy $2,024,099 domestic plus $5,452,159 in overseas earnings. Fact #3: The Splash Bluray will pop on Tuesday, 9.6, and is currently streamable on Amazon for only $15.

From my 4.18.16 review, “Much Better Splash Than Expected — Perverse, Noirish, High-Style, Sensual”: “This is a noirish Mediterranean hothouse thing — a not-especially-sordid sex and betrayal story that builds so slowly and languidly it feels like there’s nothing going on except for the vibe, and honestly? It’s so lulling and flavorful and swoony and sun-baked that you just give in to it. The undercurrent is…well, gently mesmerizing, and that was enough for me.

“I can’t wait to go there again. I felt like I was savoring a brief vacation. I’m not saying the dramatic ingredients are secondary, but they almost are.

“The title comes from a David Hockney painting, and that in itself should tell you where Guadagnino is coming from. A Bigger Splash is about island vibes and coolness and louche attitudes and to some extent the splendor of the druggy days, and particularly the legend of the Rolling Stones.

This morning a friend instructed me to look at a new Hillary Clinton ad (which is actually dated 8.23). I think it’s fine if a bit wonky. And it kind of misses the point of “Make America Great Again,” which is a dogwhistle slogan that means “Restore White Culture.” The people who wear and swear by the hat believe that the cause of everything being terrible for rural, rust-belt white guys is (a) Obama, (b) the Multiculturals, (c) Political Correctness and (d) the LGBT rights movement.

Update:  Eight days after announcing that Nate Parker would not sit for a Toronto Film Festival press conference, Fox Searchlight has changed course and announced that he will. Except TIFF-covering press can’t just show up and be seated.  As with any junket, journos have to be pre-approved by FS and talent reps.    That doesn’t necessarily mean most of the questions will be cottonballs,  but there is that possibility.

Two press conferences will occur — Parker and the Birth of a Nation cast doing a video junket presser on Saturday, 9.10, and then a print press conference on Sunday, 9.11.  Both will happen at the Fairmont Royal York and not, as previously reported about the 9.11 press conference, at the Bell Lightbox. So FS, Parker and the gang still aren’t doing a “TIFF press conference” as most of us understand the term.

As expected, as you knew it would, Damian Chazelle‘s La La Land has won over Venice Film Festival-attending critics. (Along with certain elites who saw it locally.) The 100% rating on Rotten Tomatoes won’t last. Metacritic is currently dispensing a 91% tally. Lift me up, lay me down, take me there…ooh, aaahh, yeah.

“Not perfect but daring, dazzling, beautiful and distinctive,” enthuses Hollywood Reporter critic Todd McCarthy. “An absolute triumph,” proclaims The PLaylist‘s Jessica Kiang. “A whole-hog recreation of a lavish neo-studio-system musical,” says Variety‘s Owen Gleiberman, “replete with starry nights and street lamps lighting up the innocence of soft-shoe romance, and two people who were meant for each other literally dancing on air.”

Oh, and downplay your 1950s MGM references and think instead of the musicals of Jacques Demy (The Umbrellas of Cherbourg, The Young Girls of Rochefort) as the primary inspiration.

Variety‘s Kris Tapley, who hates the hype and phoniness of Oscar season, has called it “the easiest bet…a GOOD MOVIE [that] seizes your emotions in its final moments and sends you out of the theater on a cloud.”

A brilliant 13-year run — Salvador, Platoon, Wall Street, Talk Radio, Born on the Fourth of July, JFK, The Doors (ignore Heaven and Earth), Natural Born Killers, Nixon (ignore U-Turn) and Any Given Sunday. Then came a 12 year period in which he made docs — Persona non Grata, Commandante, South of the Border, Oliver Stone’s Untold History of the United States — along with Alexander (still haven’t seen Alexander: The Final Cut), World Trade Center (meh), W. (pretty good), Wall Street: Money Never Sleeps (thumbs down) and Savages (ditto). And now he’s back on top with Snowden, the finest film Stone has directed since Any Given Sunday, not to mention the smoothest and most carefully ordered. I can’t post a multi-paragraph review until 9.9 or thereabouts, but trust me.

Oliver Stone, room #1006 in Four Seasons hotel, Beverly Hills, CA — Sunday, 8.28, 3:45 pm. The blue suit was tailored by Sam’s of Hong Kong.

“The Oliver Stone Experience” (Amrams), edited and partly written by Matt Zoller Seitz (a.k.a. “Mr. Mellow”), pops on 9.13.

Woody Allen‘s Crisis in Six Scenes, a six-episode, half-hour series set in flush woodsy Connecticut back in the crazy late ’60s, will debut on Amazon on Saturday, 9.30. The logline — “a middle class suburban family visited by a guest who turns their household completely upside down” — sounds like two films: George S. Kaufman and Moss Hart‘s The Man Who Came To Dinner (’42) and Pier Paolo Pasolini‘s Teorema (’68). I seem to recall that Son-in-Law, a 1993 Pauly Shore comedy, used the bones of this plot also.

Woody Allen, Miley Crisis…sorry, Cyrus. It’s just that when I think of her I think of instability, topsy-turvy-ness, emotional excess.

I know it’s against the law to say this, but I’m not entirely sure that I like Sam Peckinpah‘s The Getaway (’72) better than Roger Donaldson’s 1994 version. I was more than pleased with the Donaldson, and there are portions of the Peckinpah that bothered me from the get-go. (Sally Struthers‘ character, for one.) But I’ll always love this shotgun-the-cop-car scene in the original.

When Paul Newman steps out of a helicopter in the opening minutes of Irwin Allen‘s The Towering Inferno, he’s carrying a beautiful, Italian-crafted brown leather bag. I fell in love with the sight of it. Fast forward three years, at which time I was living in a rental off South Compo Road in Westport, CT. Sometime in the summer of ’77 or thereabouts I heard that Newman, a Westport resident since the ’50s, had bought the leather bag at Ed Mitchell’s (now just called plain old Mitchell’s), a respected retailer located on the corner of the Post Road and South Compo. Lo and behold I went into Ed’s one day and there it was, the exact same honey bag. It felt like heaven in my hands. I couldn’t afford it but I bought it anyway and carried it proudly for three and half years.

Paul Newman, William Holden in Irwin Allen’s The Towering Inferno.

Then came a semi-drunken moment on the London subway in December of ’80. It was an hour or so after midnight and I’d had a few. I had the luscious brown bag with me but for some no-account reason I left the car without it. I quickly realized my error, turned around and the doors closed. I shrieked like Michael Keaton in Beetlejuice. Old brownie, jammed with nice clothing that cost me at least $1500 or more in 1980 dollars, left the station on its way to North London. Oh what a gift that was for some lucky bloke. That’s alcohol for you, and one more reason why I’m delighted I no longer drink. My five-years-sober anniversary will be on 3.20.17.

Yesterday I received a slim plastic package containing Ezra Edelman‘s justly celebrated O.J.: Made in America — two discs, five parts, 464 minutes. I’ve watched the whole thing twice, I own the five-disc Bluray and the series is totally viewable on ESPN and YouTube, but it’s nice to own another way to watch it. A lot of critics will say this or that film is “required viewing” but this, trust me, is required viewing. I haven’t seen all the docs I should have by now (Anne Thompson‘s 8.25 checklist piece made that abundantly clear) but I doubt if anything will overpower the rep that Edelman’s doc enjoys.

(l.) Just-received DVD screener; (r.) five-disc Bluray that I bought on Amazon.

Damien Chazelle‘s La La Land (Summit, 1.2) will premiere tomorrow night at the 73rd Venice Film Festival. The first trade reviews will pop sometime around midday in Los Angeles, maybe mid-afternoon in New York. I’ve already been told what La La Land is — a generally satisfying, richly embroidered recreation of a romantic ’50s musical with Ryan Gosling and Emma Stone trying to fill the shoes of Gene Kelly and Debbie Reynolds…or something like that.

No, stop — forget Kelly and Reynolds. Ryan and Emma have to be themselves or it won’t work. And the movie definitely has to be itself.

Excerpt from a Deadline/Pete Hammond interview with Chazelle: “At 31, Chazelle is a rare member of his generation who truly gets the glory of a bygone era and seems determined to make it new again. In the course of our 45-minute conversation he clearly demonstrated his encyclopedic knowledge of movies, all types of movies, and La La Land reflects that in many ways — particularly in a sequence set at a revival-house screening of Rebel Without A Cause where Sebastian and Mia meet up for a late-night date.

“[The scene] is full of melancholy and irony as it follows a dinner table conversation in which the participants discuss why seeing movies at home is far preferable to a theater these days.

“That is clearly not Chazelle’s message here. He’s old school, though he told me he realizes not everyone will warm to seeing a musical like this in this day and age. It seems to me, though, that many will be discovering something brand new and startlingly original here and will definitely relate.

Every film of consequence goes through five awareness bumps before opening. The first bump is absorbing early info (title, synopsis, cast, director, producers) and maybe reading the script. The second comes with first reactions to early screenings (be they research or long-lead). The third bump is comprised of (a) reactions from people you know and more or less trust who’ve seen the film a few weeks before the opening and/or (b) reactions from festival screenings, if a festival showing is a factor. The fourth bump is general reviews, trailers, tracking, first weekend word-of-mouth. The fifth can be the most crucial — reactions from slowboat ticket buyers, second-wavers, doddering Academy types and non-geniuses. If a movie has caught on, the reactions from this last group will reflect that.

So far Warren Beatty‘s Rules Don’t Apply (20th Century Fox, 11.23) has been through bumps #1 and #2. The first reactions were “good if somewhat traditional”, but a more recent reaction from a knowledgable guy is that it’s very good and is in fact a kind of sublime bull’s-eye thing that will connect with Academy mooks. Bump #4 will happen privately in late September and October, but more particularly when his film, a Los Angeles-set late ’50s dramedy involving two employees (Lily Collins, Alden Ehrenreich) who work for super-magnate Howard Hughes (Beatty), kicks off the 30th AFI Film Fest on Thursday, 11.10. The dream or desire on Beatty’s part, I would imagine, is that under-35 types will relate and embrace given (a) the Collins-Ehrenreich casting and (b) the general theme of seeking a certain emotional serenity — a place of grace, a safe haven — in the midst of a somewhat oppressive and overbearing social system or climate.