5.3 Vox video by Ezra Klein, Carlos Waters and Cristophe Haubursin.

So Blake Lively doesn’t care…is that it? Surely she knows that starring in low-rent exploitation shite like The Shallows doesn’t enhance her stock value. She must be aware that the director, Jaume Collet-Serra, is a factory hack who has ground out horror flicks and Liam Neeson actioners in a way that is far, far below the level of, say, Roman Polanski. Surely she understands that a super-sized great white wouldn’t just nibble at her leg, and that sharks never leap out of the water like Orcas when feeding. Surely she understands that sharks don’t hunt for personal reasons (“I want you for lunch!”), and that they don’t commit to prolonged strategic vendettas. Pic is obviously dishonest, manipulative, jerry-rigged — no respect for reality. Give me a re-viewing of Open Water instead.

Source: N.Y. Times.

From Nate Cohn’s post-Indiana primary summary piece, dated 5.3: “What raises the possibility of a more decisive defeat for Mr. Trump is that he is struggling to reunite the voters who supported Mr. Romney — especially white women and white college-educated voters.

“A recent ABC/Washington Post poll showed Mr. Trump with just a 29 percent favorability rating among white women and 23 percent among white college graduates, while 68 percent and 74 percent had an unfavorable opinion.

“Mr. Trump is faring worse than Mr. Romney among white voters in all of the presidential battleground states. Polls even show Mr. Trump losing white voters in states where Mr. Romney won them, like Colorado, Pennsylvania and Wisconsin. It’s enough to put him at a big disadvantage in early surveys of diverse battleground states like Florida and Virginia — as well as North Carolina and Arizona, two states Mr. Romney won in 2012.

“Mr. Trump has even trailed in a poll in strongly Republican Utah, which is one of the best-educated states in the country. It’s unlikely that Mrs. Clinton could win Utah in the end, but it’s nonetheless telling that Mr. Trump trails in a survey of a state where Democrats have not reached 35 percent of the vote in the last 11 presidential elections.”

Friend: “Going to 10 am press screening of The Lobster (A24, 5.13) — is it any good?” Me: “The Lobster is a dry, darkish, art-fart conceptual comedy with a touch of levitation by way of Rachel Weisz. It’s diverting for the first 45 minutes or so, then it runs out of gas. If you’re Guy Lodge, you’ll love it start to finish.” Here’s a version of my original Cannes review.

Last night Jett took me to Biang! (157 Second Ave.), an affiliate of the Xian Famous Foods chainlet. Subtly lighted and reasonably priced, this is easily the most exciting Chinese place I’ve visited in years. The Spicy Cumin Lamb Biang-Biang Noodles was the most startling, alive-tasting entree I’ve had since visiting Hanoi’s Pho-Thin and Bum Cha Dak Kim in a single day. (Here’s the HE summary.)

HE review, posted on 4.11.16: “Luca Guadagnino‘s A Bigger Splash (Fox Searchlight, 5.6) 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.”

N.Y. Times review by Manohla Dargis, posted on 5.3: “The cinema of seduction doesn’t get much more overheated than A Bigger Splash, an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down.”

HE: “The undercurrent is gently mesmerizing, and that was enough for me. I can’t wait to see it again, or more precisely 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.”

N.Y. Times: “Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars.

Friend who’s caught the current Roundabout theatre production of Long Day’s Journey Into Night: “You’ll want a drink or some morphine after that show. And I say that as a fan.”

Look at those Trump supporters with their shades and belligerence. Where in this video is the civility — the hope for humanity — apart from the witnesses? I felt for Ted Cruz in this instance. I did.

On 4.21 an IMAX quarterly earnings press release divulged that Terrence Malick‘s Voyage of Time, perhaps the most comically over-delayed film in the history of motion pictures, will pop in IMAX on 10.7.16. (Exact IMAX wording: “In addition, the Company will be releasing…a documentary film, Voyage of Time, on October 7, 2016.”) I might get around to seeing it…maybe. Okay, I probably will. But only out of habit because Malick was such a big deal between the early to late ’70s, and then a big deal again between The Thin Red Line and Tree of Life. But he’s more or less over now — To The Wonder and Knight of Cups have all but seen to that. Weightless, which I’m very reluctant to see, is probably superfluous at this stage. Nobody much cares. I certainly don’t. His brand has certainly waned across the board.

Obviously a wallow of some kind, but I have to admit that the dialogue doesn’t sound half-bad here — it has a sharp, well-sculpted rimshot quality. And you can sense a certain confidence from costars Mila Kunis, Kristen Bell and Kathryn Hahn. But none of this matters because you can’t trust a trailer. Directed and written by Hangover screenwriters Jon Lucas and Scott Moore, who co-directed 21 and Over.

Noteworthy: Bad Moms only began shooting on January 11th, or a little less than four months ago. The STX release opens on 7.29. Six months between the start of production and opening day is definitely unusual. What other super-quickies have happened this century? As far as I know no mainstream film was ever slapped together faster than Otto Preminger‘s Anatomy of a Murder — began shooting on 3.23.59, wrapped on 5.15.59 and opened on 7.2.59.

The spirit of submission and acquiesence lives in a Home Theatre Forum thread about the restored One-Eyed Jacks. Some of the commenters seem to recognize that the decision by Universal and the Film Foundation to slice off the tops and bottoms of Marlon Brando and Charles Lang‘s 1961 classic in order to render a 1.85 aspect ratio wasn’t necessary, and yet their attitude is more or less “whatever…we don’t mind!” A couple of commenters seem to believe that my opposition to this decision is based upon delusion or ignorance. In fact they’re the ones wearing blinders.

Let’s try again. One-Eyed Jacks was shot in the “flexible and compatible” VistaVision process and therefore could have easily been cropped at 1.66, 1.75 or 1.78. But no. In order to conform to a currently meaningless and completely political, consensus-driven suggestion contained in a Paramount memo back in the late ’50s (or whenever) that Jacks should be projected at 1.85, Uni/FF decided to follow suit.

This is not a tragedy — Jacks will look beautiful at almost any a.r. — but it’s certainly cause for lamenting. As I noted on 4.26, archivist Bob Furmanek is probably a chief culprit in this affair. By submitting and endorsing the Paramount suggestion, he relieved Uni/FF of any creative responsibility in determining the aspect ratio of the One-Eyed Jacks Bluray.