This couldn’t be less important in the grand scheme of things, but to my knowledge this photo of a 1969 gathering for John Wayne‘s 62nd birthday contains the only color image ever printed or posted of Fred Macmurray without his rug. I remember seeing a b & w photo of an un-toupeed Macmurray many years ago, but this is the first color snap I’ve seen in my entire life. I’m sorry if it sounds inane, but I pay attention to this stuff.

(l. to r.) Clint Eastwood, Rock Hudson, Fred Macmurray, John Wayne, Jimmy Stewart, Ernest Borgnine, Michael Caine.

I’ve always regarded indie-realm publicist Mickey Cottrell as a crafty and diligent hombre who knows the right people, always manages to push the right buttons, has excellent taste as far as the films and filmmakers he represents, and is a mensch on top of all that. And he’s a fairly decent actor besides.

Mickey Cottrell

In any event poor Mickey has been hit with a debilitating stroke, and I’m told his insurance won’t quite cover the 24-hour care that he’ll be needing. On top of which he also needs help with living expenses as he won’t be able to earn while he’s recovering. Cottrell’s friends have set up a compassionate GoFundMe campaign, and are asking all who know and love the guy (he’s been around forever) to throw in whatever they can afford.

The last time I threw in dough for a colleague was when journalist-critic Ed Douglas was having difficulty two or three years ago. Tough times happen to the best of us. Good friends and fellows rally round on such occasions.

There’s a plan, I’m told, to possibly remake Death Wish with Bruce Willis as Charles Bronson‘s Paul Kersey. Or something like that. Right away I wondered why with Chuck Russell‘s I Am Wrath (Saban, 5.13), about an unemployed engineer (John Travolta) going vigilante when the cops fail to bring his wife’s murderers to justice, sounding like a fairly close remake of Michael Winner’s 1974 film.

I’m not saying the alleged Willis project will happen, but if it does it would be processed, along with the Travolta flick, as yet another entry in the grizzled-action-star-urban-whupass genre. Which began eight years ago, of course, with Taken and the launching of the more specific grizzled-dad-looking-to-save-imperiled-daughter genre. Liam “paycheck” Neeson pretty much owned the turf until the first Expendables flick popped in 2010.

All to say that I’m sensing a fatigue factor over the grizzled bad-ass white guy thing. It seems that the only way to inject fresh energy into a Death Wish remake, if that’s what you really want to do, is go with a grizzled black guy.

The new Death Wish needs to have a serious 2016 cultural context. What real-deal situation or attitude or trend will it reflect? The Bronson version drew on an early ’70s Manhattan that really did have a crime/urban decay problem — not so much now. Bernhard Goetz obviously redefined vigilantism in the ’80s, and not in a heroic way. So what’s the best angle for a newbie?

Kenneth Turan‘s 5.5 L.A. Times review of Captain America: Civil War contends that the film will play much better for hardcore Marvel devotees than for the less fanatical or the uninitiated. The underlying suggestion is that perhaps Turan himself struggled to recall all the backstory connections when he saw it, but we’ll let that go.

While reading this a related thought came to mind, which is basically that there may be a current of personal expression in CA:CW as well as Batman v Superman that hardcore fans might be missing. Okay, so it’s not related.

Both are about responses to blowback over mass urban destruction caused by battles between superheroes and supervillains. Batman is hugely pissed at Superman for the destruction caused by his battle with General Zod in Man of Steel, and the Avengers have been told by governmental authorities that vast wreckage and public trauma caused by previous slugfests requires them to agree to U.N. supervision.

You could theoretically use the following as either a subtitle or copy line on the ads for both films: Out of control, gone too far — now it’s time for consequences.

But all this chaos and charred rubble (which has also been abundant in the last couple of Transformer films not to mention San Andreas and a few Roland Emmerich films I could mention) is not really character-driven. Yes, Superman and the Avengers had to do battle because it was the right or necessary thing, but the vast, cacophonous scale of the destruction was created by the filmmakers — by Zack Snyder and the Russo brothers because big-ass buildings toppling over and whole sections of cities being drowned or falling into huge earthquake pits and transformed into 9/11 ash heaps looks cool.

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.”