Outta Here Tomorrow

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Las Vegas locals love this Thai restaurant. Located within one of the emptiest and gloomiest single-story outdoor malls in the Western hemisphere. Got here at 7:15 pm last night and was told I’d have to wait for a good 75 minutes for a table.

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You Never Know, But Wonder May Snag Best Picture Nomination

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I hadn’t paid any attention to Wonder (Lionsgate, 11.17), a delicate family drama in the vein of Peter Bogdanovich‘s Mask, until today. But now I’m on it, and for good reason.

Based on three relatively recent novels by R.J. Palacio, it’s about the journey of a young kid with a facial deformity (Jacob Tremblay) as he acclimates to school, and how his parents (Julia Roberts, Owen Wilson) and extended family help him along.


Owen Wilson, Julia Roberts during filming of Wonder.

Jacon Tremblay

This kind of story can be cloying or worse in the wrong hands, but I was sensing from the brief trailer shown today that director Steven Chbosky (The Perks of Being A Wallflower) has handled things with restraint and the right kind of emphasis. Maybe.

Three things got my attention. One, it’s obviously going to be an emotionally affecting drama — I could feel the pangs right away. Two, a Lionsgate spokesperson mentioned that Wonder has gotten the highest test scores of any Lionsgate film ever. And three, Wonder‘s original release date, 4.7.17, was changed last February to 11.17, which means Lionsgate knows it has the Oscar nuts.

Who knows how good it’ll turn out to actually be, but I can almost guarantee you that the Academy members who nominated Garth Davis‘s heart-tugging Lion for six Oscars (including Best Picture) are going to give it up for Wonder.

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Killer Klowns

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I’ve never been much for this kind of slam-and-scream horror film, much less for the scary literature of Stephen King. But I have to admit that the red balloon is spooky. Because it drops the Alka Seltzer into the water.

A Darkly Comic Satire of American Arrogance & Exceptionalism — Got It

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David Michod and Brad Pitt‘s War Machine looks and sounds engaging as shit. The Netflix press release calls it “absurdist” and “pitch-black.” Pitt’s General Glenn McMahon – Gen. Stanley McChrystal. Ben Kingsley as former Afghanistan president Hamid Karazi…perfect! With Emory Cohen, Topher Grace, Anthony Michael Hall, Will Poulter, Lakeith Stanfield, Meg Tilly, Tilda Swinton. “We’re not here to win — we’re here to clean up the mess.” War Machine pops on 5.26.17.

When In Doubt, Ask Clem Kadiddlehopper

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Most Americans are total rubes when it comes to respecting pronunications of foreign last names. A year and a half ago I riffed about the yokel way to pronounce the last name of Melissa “Supergirl” Benoist. Semi-cultivated types pronounce this French-origin name as “Ben-whah” while dogpatch Americans pronounce it “Ben-oh-ist” with Benoist herself pronouncing it “Ben-OYST.”

Now a “new” mispronunication has surfaced — the last name of Marvel Films honcho Kevin Feige. New to me, that is. For the last ten-plus years I’ve been saying “fayge” or “feejzh” (like the first syllable in leisure), but yesterday a Cinemacon moderator pronounced it “Fay-gee.” I jumped in my seat…what?

Feige is a German term for fig, the purple-colored tree fruit. Germans would pronounce this “Fye-guh“, which is easily within the realm of American capability.

But it also resembles the medieval term “liege” (as in “my liege”, which is pronounced like the first syllable of “leisure” and which means “my superior”) as well as the Belgian city of Liege, which is pronounced “Lee-ayge.” So for a while there I was saying “fayge” or “feejzh” — a one-syllable, soft-g pronunication. Because Feige’s last name merely reverses the order of the first two vowels (e-i instead of i-e).

But throw Feige’s name into the American cultural meat-grinder and it becomes fay-gee, or almost the same as Weegee, the New York tabloid photographer. Nobody comes up with more dumbshit-sounding pronunciations than Americans…nobody.

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Blood, Sweat and Tears

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So how is Gary Oldman‘s performance as Winston Churchill in Joe Wright‘s Darkest Hour (Focus Features, 11.24)? Or, more precisely, how good or commanding does his Churchill seem in the Darkest Hour trailer that was shown today during a Focus Features presentation inside Caesar’s Palace? Oldman is very, very good. It’s not Churchill himself come back to life (the voice doesn’t quite have that trademark snap, that Winnie-tude), but a genetic splicing of Oldman, Churchill and Wright. It’s somewhere between 85% and 90% of what I’d hoped to see and hear, and considering the expectations that’s pretty damn good. Obviously a locked-in Best Actor thing. Due respect to Brian Cox and Johathan Teplitzky‘s Churchill (which will open in early June), but Oldman’s Winnie is more commanding. Ditto John Lithgow‘s Churchill in The Crown.


Gary Oldman as Winston Churchill in Joe Wright’s Finest Hour (Focus Featuyres, 11.24).

Paramount and Focus Slates Aside, Cinemacon Has Been Largely About Promoting Idiot Cartoon Jackhammer Movies

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Hollywood Elsewhere staggered out of Universal‘s Cinemacon presentation a little more than an hour ago. I’d still be there if I hadn’t decided to avoid watching F. Gary Gray‘s The Fate of the Furious (Universal 4.4.17), which is showing as we speak.

For whatever reason Team Universal decided to avoid even mentioning three releases that comprise their fall ’17 slate — Doug Liman‘s American Made, Tomas Alfredson‘s The Snowman (10.13.17) and Jason Hall‘s Thank You For You Service)l.

They focused instead on promoting five jackhammer, bass-thump, super-coarse, high-velocity movies opening between early April and late July — The Fate of the Furious, The Mummy (6.9), Despicable Me 3 (6.30), Girls Trip (7.21.17) and David Leitch‘s Atomic Blonde (7.28). Because slam-thunk moron movies make more dough that those aimed at 25-and-overs.

I’m not saying this is all exhibitors care about, but…well, this is more or less where they live and what seems to concern them the most. Morons and concessions.

If you didn’t know that Universal, a longstanding studio with a proud tradition, has a modest fall slate and that it’s making only the above-mentioned spring and summer movies [which it isn’t), you’d be under an impression that Universal has all but sold its soul to the devil.

Not just Universal, actually, but to a considerable extent Sony, Disney, STX and Warner Bros. Because they’re all making the same movie these days — the same assaultive, gutslamming, ear-splitting, cartoon-like experience that I’m calling generic superjizz.

And yet, curiously, Paramount is to some extent on another planet, at least as far as three of its 2017 films are concerned — Alexander Payne‘s obviously brilliant Downsizing, George Clooney‘s Coen-esque Suburbicon and Alex Garland‘s spooky Annhilation.  And don’t forget Darren Aronofsky‘s Mother, which wasn’t promoted here but will also pop in the fall.

Focus Features, which will stage a Cinemacon luncheon and presentation less than an hour from now, also resides on this planet Atomic Blonde aside, they’ll be releasing four adult-level standouts this year — Sofia Coppola‘s The Beguiled (6.23), Stephen Frears‘ Victoria and Abdul (9.22), Joe Wright‘s Darkest Hour (11.24) and Paul Thomas Anderson‘s untitled fashion drama with Daniel Day Lewis (opening on or near Christmas ’17).

Besson’s Valerian Doesn’t Seem Punchy, Different Enough

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At best Dane DeHaan is a marginal industry star whom the public has little feeling for, much less recognition of. This alone may pose a domestic problem for Luc Besson‘s Valerian and the City of a Thousand Planets (STX, 7.21). Besson has been trying to launch this adaptation of the French sci-fi comics series Valérian and Laureline for many years. He “reportedly scrapped an earlier version of the script after he saw James Cameron‘s Avatar for the first time.” The trailer feels generic. Clara Delevigne costars; backup perfs from Rihanna, Ethan Hawke, Clive Owen, Alain Chabat, Mathieu Kassovitz, Kris Wu, Herbie Hancock, John Goodman and Rutger Hauer.

Tipping Point

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Posted from Park City on 1.19.17: I’ve just seen Al Gore, Bonni Cohen and Jon Shenk‘s An Inconvenient Sequel, a sequel to the nearly eleven-year-old, Oscar-winning doc that he and director Davis Guggenheim created. And I’m afraid that the general opinion is “nice film but meh…we know the climate crisis is mostly worsening, the 2015 Paris climate accords aside, so what else is new?”

That’s what a critic friend was saying at least (“I’ve seen a lot of climate-change docs, and good as this was it’s basically more of the same”), and even though I liked Sequel I couldn’t argue all that strenuously. It’s a nicely done, intelligently assembled film but it is more or less a rehash of the original brief, which is that we’re all doomed unless climate criminals (primarily the leaders of India, China and other developing countries) wake up, man up and begin the process of switching to renewable energy sources.

The difference between An Inconvenient Truth and An Inconvenient Sequel is that the latter (a) takes a fresh look at what’s going on now (i.e., things are worse), (b) provides hope by focusing on the Paris Agreement, which Gore was very much a part of, and (c) admits to a certain despair by acknowledging that a climate-change-denying beast is about to move into the White House.

Form-wise Sequel is well finessed. It’s a good thing that it was made, and that Paramount Pictures is releasing it sometime this summer, and that who-knows-how-many-thousands of more minds will probably be changed, etc.

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Tight Fit

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It’s 7:45 am — been up since dawn. Next to no filing time this morning with Universal‘s Cinemacon presentation, 9:15 am to 12:15 pm (why three hours?), breathing down my neck. It’ll be quickly followed by a combination luncheon & presentation thrown by Focus Features from 12:45 pm to 2:30 pm. A two-hour break and then the 90-minute Warner Bros. presentation kicks off at 4:30 pm.

Cannes Festival Posters Often Default To Mid-20th Century Icons

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Over the last decade or so a few official Cannes Film Festival posters haven’t focused on some classic, iconic film star of the ’50s or ’60s — Faye Dunaway, Marilyn Monroe, Ingrid Bergman, Monica Vitti, Paul Newman and Joanne Woodward. But they’ve been in the minority. Juliette Binoche adorned a Cannes poster six or seven years ago. For the 2007 festival, which celebrated the 60th anniversary, several world-class directors (Almodovar, Inarritu, etc.) posed for a group shot. But this year, the festival’s 70th anniversary, it’s another ’60s head-turner — Claudia Cardinale. Born in ’38, her hot-career phase included Mario Monicelli‘s Big Deal on Madonna Street (’58), Luchino Visconti‘s Rocco and His Brothers (’60), Girl with a Suitcase (’61), Federico Fellini‘s 8 1/2 (’63), Visconti’s The Leopard (’63), Blake Edwards‘ The Pink Panther (’63), Richard Brooks‘ The Professionals (’66 — flagrantly unbelievable as a Mexican) and Sergio Leone‘s Once Upon a Time in the West (’68).