Speaker of the House Paul Ryan: “If a person” — Donald Trump — “wants to be the nominee of the Republican party, there can be no evasion and no games. They must reject any group or cause this is built on bigotry” — a reference to former KKK bigwig David Duke, who has endorsed Trump. “This party does not prey on people’s prejudices,” Ryan went on. “We appeal to their highest ideals. This is the party of Lincoln. We believe all people are created equal in the eyes of God, and our government. This is fundamental. And if someone wants to be our nominee, they must understand this.”

Translation: Since the passage of the 1965 Voting Rights Act and particularly the rise of civil unrest in the late ’60s and early ’70s, the Republican party has been a haven for rich, alarmed or under-educated whites who feel threatened by liberal social legislation, programs and attitudes that have afforded a fair shot to people of color looking to get ahead. Republican leaders disavow blatant racism, of course, but we all know they’ve been speaking in code for decades about social and racial issues, and that they are, in fact, the party of racial dog-whistle sentiments.

In a 2.29 N.Y. Times piece about diversity concerns and the gradual implementation of new AMPAS voting rules, Brooks Barnes and Michael Cieply state the following: “The academy has only a few months to repair damaged processes, internal relationships and its public image before the next Oscar season descends in late summer, bringing with it a chilling prospect: What if voters, even after a planned purge of inactive members, again snub actors of color?”

The purge will take a while to fully kick in, but in terms of the upcoming 2016 Oscar season Barnes and Cieply are essentially asking “what if Academy voters aren’t as impressed with Nate Parker‘s The Birth of a Nation as many who attended the 2016 Sundance Film Festival were?”

Nation and possibly one other film — Barry Jenkins‘ Moonlight, a Plan B/A24 project about “black queer youth amid the temptations of the Miami drug trade” — are the only 2016 films made by and primarily starring African-Americans that seem to have, at least nominally, the markings of award-season contenders.

The only other film with an African-American theme and a sizable cast of African-American players is Gary Ross‘s The Free State of Jones (STX, 5.13), but this is basically a drama about a white savior — a true story of a Mississippi farmer, Newton Knight (Matthew McConaughey), who leads an armed rebellion against the Confederacy and marries a former slave, Rachel (Gugu Mbatha-Raw).

There’s also Jeff Nichols‘ Loving, a late ’50s-era drama about a real-life interracial marriage that briefly resulted in Mildred and Richard Loving (Ruth Negga, Joel Edgerton) being sentenced to prison in Virginia.

Please check out HE’s just-posted 2016 Oscar Balloon — a rundown of over 55 films that may eventually register as awards fodder or at least as adult-friendly, review-driven fare. If I’m missing a black-centric film of any dimension — African-American focused, performed or created — please advise.

In a few days Quentin Tarantino‘s New Beverly Cinema will be screening a beware-of-Ryan O’Neal double bill — Love Story (’70) and Oliver’s Story (’78). A little more than 37 years ago I laughed at a defaced version of an Oliver’s Story one-sheet on a New York subway station wall. It won’t be very funny if I use the original graffiti so I’m going to use polite terminology. The dialogue balloons had O’Neal saying to costar Candice Bergen, “I’m sorry but may I have sex with you in a way that can’t get you pregnant?” Bergen answered, “I’d prefer another method.” I was poor and struggling and mostly miserable, but the graffiti made me laugh. I guess you had to be there.

The late George Kennedy‘s peak moment (“the greatest of my life”) was winning the Best Supporting Actor Oscar for his performance as a big-mouthed convict in Cool Hand Luke (’67). He was fine in that Stuart Rosenberg film, but my favorite Kennedy performances are his police detective in The Boston Strangler (’68) and particularly his bullying, sociopathic goon who was brought down by a pack of Dobermans in Clint Eastwood and Michael Cimino‘s Thunderbolt and Lightfoot (’74). I understood Kennedy’s willingness to prostitute himself as Joe Petroni in those Godforsaken Airport sequels (Airport 1975, Airport ’77, The Concorde: Airport ’79), but doing these and other crap films diminished what he had going in the late ’60s.

Despite what the IMDB and Wikipedia say about Pablo Larrain‘s Jackie being a 2017 release, I’m going on the presumption that it’ll be pretty much done six or seven months hence (August/September) and acquired by Fox Searchlight for release during the 2016 award season, or certainly by November/December. It’s obviously an Oscar-baity thing, and it wouldn’t make much sense to hold it for a full year (i.e., until the fall of ’17). If Pablo doesn’t get the CG just right and make his footage blend perfectly with color newsreels of JFK’s funeral, Jackie won’t work. Here’s hoping.

Natalie Portman as Jackie kennedy — pic recently posted on Pablo Larrain’s Instagram page.

Now that Donald Trump has all but locked down the Republican presidential nomination, the “chuckling and shaking one’s head” phase is pretty much over, and the serious artillery phase is kicking in. In the past the initial response of educated people to demagogues has been to laugh or call them foolish figures, and then go “wait a minute…this guy could actually win.” Trump is nothing if not an improvisational opportunist and a lying sociopath who shoots from the hip but isn’t that hip when he shoots. John Oliver: “We have no way of knowing which of his inconsistent views he will hold in office.” I can definitely imagine Clinton-funded campaign ads like that LBJ-funded ad than ran in 64 [after the jump] — an ad featuring a sensible-sounding establishment Republican saying “look, this is just too much…this is way beyond the pale…I can’t vote for this guy and neither should you.”

I reviewed Joachim Trier‘s Louder Than Bombs nine-plus months ago at the 2015 Cannes Film Festival. It costars Gabriel Byrne, Isabelle Huppert, Amy Ryan, Rachel Brosnahan, David Strathairn and Devin Druid. The Orchard will open it theatrically on 4.8 and will stream on iTunes/VOD beginning on 7.12. I’ve posted the Cannes review twice before so here goes a third time…sorry.

This is an ennui-laden, Euro-style Ordinary People stuffed with the usual suburban, middle-class downer intrigues and featuring one of the most reprehensible teenaged characters in the history of motion pictures. To me it felt contrived and gently infuriating. Too many aspects felt wrong and miscalculated or even hateful, and once the tally reached critical levels I began to sink into my usual exasperation (faint moaning, leaning forward, checking my watch).

“Uh-oh, this isn’t working,” I began saying to myself at around the ten-minute mark. Later on I was saying, “Wow, this really isn’t working.” Later on I was muttering worse things.

Bombs is basically about a father and two sons grappling with the death of their wife/mother, and the dysfunctional behavior that emerges in her absence.

Dad, a Long Island-based high-school teacher, is played by the aging, overly sensitive, watery-eyed Gabriel Byrne. Son #1, a mild-mannered college prof and mystifyingly irresponsible young dad, is played by Jesse Eisenberg, wearing a bizarre straight-hair wig instead of his usual curlies. Son #2, the above-mentioned demon from Hades, is played by Devin Druid. Isabelle Huppert plays the dead wife/mom — a renowned, N.Y. Times-endorsed war photographer who died some months ago in a local highway accident.

Big Short director Adam McKay, co-winner of Best Adapted Screenplay Oscar, ended his acceptance speech with the following: “Most of all, if you don’t want big money to control government, don’t vote for candidates that take money from big banks, oil or weirdo billionaires…stop!” This wasn’t a “subtle” jab at Hillary Clinton, who has reportedly accepted more than $20 million from Wall Street bigwigs in the form of speaking fees and campaign contributions — it was a very precise and clear one. As well as a Bernie Sanders endorsement. Which of course meant nothing to the low-information no-accounts.

I was hugely impressed last night by the way Alejandro G. Inarritu ignored the orchestra trying to play him off and calmly stood his ground as he spoke about racial prejudice and opportunity and the meaning of his win. This is what backbone is…the fruit of will and a pair of balls.

At the Governor’s Ball he told Deadline‘s Pete Hammond that “I hadn’t even used all my time when they started to play me off.” Co-producer Reginald Hudlin told Hammond that “it was just one mistake in a three and a half hour show.” I think it was basic cluelessness, not a mistake. Everyone knows that you cut the major winners a little slack when it comes to acceptance speeches. Hudlin and co-producer David Hill could have told the orchestra conductor to stop and let Inarritu finish, but they chose not to. Insensitive, bad form.

Sylvester Stallone‘s surprising loss to Mark Rylance at the Oscars last night was the biggest shocker of the telecast. Expectation-wise it was like being hit on the side of the head with a waffle iron. Some had predicted Spotlight‘s surprise win, but almost nobody saw the Stallone thing coming.

Obviously some sentiment or conviction kicked in that very few picked up on. But what? You can’t just bellyache — something happened.

But before floating theories, you have to watch Michael Rapaport’s reaction, which was posted late last night or early this morning or whatever.

Sasha Stone has suggested that Sly lost because (1) it was a very competitive year resulting in a split-up vote, (2) “Did the Academy really want to go down in history rewarding ‘the only white guy’ in Creed?…that’s all the press talked about…if they gave him an award, doesn’t that just seal the deal?” and (3) “A lot of old timers really liked Bridge of Spies.”

HE theories: I agree with Sasha’s thinking but I also think Sly lost some votes when he forgot to thank Creed director Ryan Coogler during his thank-you speech at the Golden Globes — I think that pushed the wrong kind of button.

I didn’t think Spotlight would take the Best Picture Oscar, but I was delighted that it did. It was a win that made a lot of people happy. Everyone I spoke to at the Spotlight after-party at Palihouse said the same thing. A few know-it-alls were predicting that Spotlight might triumph, but most were predicting The Revenant. Especially after Alejandro G. Inarritu‘s DGA win followed by The Revenant‘s BAFTA triumph — that’s when most Spotlight supporters (myself included) caved as far as our Gold Derby or Gurus of Gold predictions were concerned. No one I spoke to (or could think of) was predicting that Bridge of Spies costar Mark Rylance would win the Best Supporting Actor Oscar — everybody was assuming Sly Stallone had it bagged. Anyway, I’m done for the night. I got back an hour ago from the Palihouse party, and tomorrow’s another day. Funniest quote from a Revenant guy: “We’ve made so much money we might even break even.” Then he said as a kicker, “That was a joke.”

Spotlight director and co-writer Tom McCarthy arriving at Palihouse after-party.

Spotlight team on Kodak stage after the Best Picture win.

9:00 pm: Spotlight wins the Best Picture Oscar! OMG! OMG! OMG! Amazing. The preferential ballot thing kicked in! Buy some Girl Scout cookies! Black lives matter!

8:53 pm: Julianne Moore presenting the long-assured Best Actor Oscar to Leonardo DiCaprio. Who gets a standing ovation. Leo thanks Hardy, Alejandro, Chivo, Arnon, Scorsese, Rick Yorn, my friends. And this: “Climate change is real, it’s happening right now, and we need to work together right now and stop procrastinating and support leaders who don’t [kowtow] to the big polluters and for our children’s children…let us not take this planet for granted…I do not take tonight for granted.”

8:51 pm: Chris Rock has done a really great job — he hit the right notes, said some wise things, handled it well and smoothly. A real pro.

8:44 pm: Eddie Redmayne presenting the Best Actress reel, and then the Oscar to Room‘s Brie Larson. “Oh, wow.” She thanks Telluride, Toronto, Lenny Abrahamson, her family, friends and the audience for seeing Room. Simple, elegant. And she looks terrific.

8:36 pm: J.J. Abrams announces winner of the Best Directing Oscar, which will presumably be The Revenant‘s Alejandro G. Inarritu. Yes, Mr. Revenant has won twice in a row, historically measuring up to Joseph L. Mankiewicz and John Ford. Heartfelt thanks to Leo, Chivo, Tom Hardy, Arnon Milchan. Inarritu stands up to the orchestra, refuses to be played off, and says something fine and true about the symbolism of the moment, future opportunity and past discrimination.

8:29 pm: Sascha Baron Cohen amusingly satirizes the whole “what about fairness for us?” diversity thing. Got me.

8:25 pm: Common and John Legend presenting the Best Song Oscar. I feel as if it should go to “Until It Happens To you.” But Sam Smith‘s Spectre song wins.

8:20 pm: Quincy Jones and blonde Pharrell presenting Best Original Score Oscar. It should be going to Ryuichi Sakamoto for his Revenant score. The Oscar goes to Ennio Morricone for his Revenant score, which was okay but honestly wasn’t my idea of great. This is basically another gold-watch Oscar for a legendary composer, and that’s fine. Morricone conveys thanks in his native tongue…cool.

8:09 pm: Standing ovation for Joe Biden! Biden (in response to applause): “I’m the least qualified man here tonight…thank you!” More: “We must and we can change the culture, so that no women or man will ever have to ask themselves ‘what did I do?’ They did nothing wrong.” Lady Gaga singing “‘Til It Happens To you.” A couple of dozen victims standing in formation, all wearing temporary tattoos that say “I’m a survivor: and “It happened to me.” Moving. Best moment of the show so far. Second best: Rock interviews Compton moviegoers. Third best: Rylance beats Stallone.

8:07 pm: Sofia Vergara and some guy presenting Best Foreign Language Feature Oscar. Vergara: “And the Oscar goes to Son of Saawuhhl…Hungary.” Hooray for the Saul guys!

8:05 pm: Jacob Tremblay and Abraham Attah presenting action for Best Live Action Short Film. What just won? Attah said “Stuttaahh!” Oh, right: Stutterer.

8:03 pm: The Oscar telecast has been rockin’ and rollin’ for two and a half hours now.

7:56 pm: Death Reel — who will be snubbed? Former Time critic Richard Corliss makes the cut! Holly Woodlawn! Frank Gilroy, David Bowie, Leonard Nimoy…blackbirds, fly. Tweet by Forrest Wickman: “Paul McCartney wrote “Blackbird” about the Civil Rights struggle. Now the Oscars use it to memorialize (mostly) white people.” With an oblique nod to the evening’s diversity theme.

7:55 pm: Cheryl Boone Isaacs quoting Martin Luther King: “The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stand in moments of challenge and controversy.

7:52 pm: Whoopi Goldberg could spend a little more time on the treadmill. Sorry but she could.

7:50 pm: $65K for Girl Scout cookies?

7:38 pm: Louis C.K. handing out Best Documentary Short Subject Oscar. They’ll never get rich, they’ll be going home in a Honda Civic, they’ll keep the Oscar in their crappy apartment. Winner is getting played off. Dev Patel and Daisy “who’s Cary Grant?” Ridley handing out Best Documentary Feature Oscar, which is supposed to go to Asif Kapadia‘s Amy. Yes! Amy! Congrats to Asif! We made this film to show who Amy really was, etc. A magnificent singer who killed herself, you mean?

7:32 pm: Bridge of Spies costar Mark Rylance wins Best Supporting Oscar. More to the point, Sly Stallone loses! The first shocker of the evening! The blogaroonies (myself included) were wrong. Imagine all those people down in Compton going, “Who the fuck is Mark Rylance? Who the fuck saw Bridge of Lies?” This is what’s called an upset. HE advice to Stallone: Don’t pull an Eddie Murphy and leave the Kodak. Stay to the end, be gracious, give Rylance a hug, go to all the parties.

7:27 pm: Chris Rock interviewing several low-information Compton residents about which “white person” Best Picture nominees they’ve seen. None, zip, doughnut. But they saw Straight Outta Compton. Why would they ever want to see Spotlight? Just some white-ass movie about white people up to some white-people shit…right? The same mentality, I’d guess, that led South Carolinians of color to not vote for Bernie Sanders…right, Chris? Talk to Spike Lee and Cornell West about that.

7:22 pm: Kate Winslet, Reese Witherspoon announcing Best Picture clips…zzzzz.

7:14 pm: Kevin Hart shares his diversity thoughts. A musical number. That I already hate. Nice haircut, Weekend! Return of the mullet in 2016.

7:10 pm: Woody and Buzz Lightyear’s patter is slightly better. The winner of the Best Animated Feature oscar will be, of course, Inside Out — fucking Pixar guys own this category. Good words: “Make stuff..make films, draw, write…it’ll make a world of difference.”

7:08 pm: The Repulsive Minions are boring my ass off. Who wrote their material? Just being on stage isn’t enough, guys. You’ve gotta open your heart, pour out your soul. Oh, right…above your pay grade.

7:05 pm: Steven Spielberg and a whole lot of others have their cash out, ready to buy those Girl Scout cookies.

7:00 pm: BB8, R2D2 and C3P) are boring my ass off. Who wrote their material? Just being on stage isn’t enough, guys. You gotta open your heart, pour out your soul. Oh, right…above your pay grade.

6:54 pm: Andy Serkis presenting Best Visual Effects Oscars. An anti-Donald Trump joke. One, two, three….give it to Ex Machina or The Revenant>/em>! They wouldn’t dare give it to Max again, would they? No — Ex Machina! Congrats!