Disney Knows The Score

Here are the format options for press screenings of Star Wars: The Force Awakens on Tuesday, 12.15. Notice that Disney isn’t offering a 3D option in the evening (i.e., for people with any taste, or who can’t get away in the daytime). The bloom is off 3D and then some. It’s not something that discerning movie hounds would want to choose. Unless, you know, the 3D film in question is something truly exceptional like Baltasar Kormakur‘s Everest or Jean-Luc Godard‘s Goodbye to Language or Werner Herzog‘s Cave of Forgotten Dreams. Or if it’s a question of seeing the climactic wire-walking sequence in The Walk in 3D (essential) vs. 2D (less so).

At The Very Least Joy Deserves Passing Grade In Mid 70s

After the 11.28 Joy screening on the Fox Lot I posted some generally admiring tweets. Good as it is Joy is a little something of a mixed bag, and so I was struggling with my responses. It works but in a scattered, neurotic, off-and-on way. In my head I was giving it a grade of around 84 or 85, which is a B. Good, tasty, sharp, focused and very David O. Russell-y, but not on the level of Silver Linings Playbook and The Fighter. Then I saw it again and it didn’t play quite as well, and so I downgraded it to about a 77 or 78. Joy is nonethless a very well made, grade-A film that works in fits and starts, and Jennifer Lawrence‘s performance is unquestionably strong and redeeming…so that’s where it is for me. It’s a thumbs-upper but not way up. Which I why I was shocked by Joy‘s aggregate ratings on Rotten Tomatoes and Metacritic53% and 63% respectively. That’s an average of about 58%, and by a high-school grading system that’s a serious flunk. Joy is too expertly made to rate that. It absolutely deserves a general pass. And don’t forget that Robbie Collin Telegraph rave.

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Life Is Beautiful, Heavenly, Joyful

Twitter is where you go to find out how rancid some people are deep down. Twitter is a social-media form of those ugly-truth-revealing glasses that certain characters put on in “The Cheaters,” that 12.27.60 episode from Thriller. Twitter is where you find out how small, smug, lazy, stupid, tedious, hateful and sometimes even disgusting people are. Twitter has brought to me to places I never knew existed and am now very sorry I know about. The loathing I feel for those strutting, shrieking, foo-foo Twitter scolds out there sometimes manifests into stomach acid, indigestion, headaches and God knows what else. It’s all I can do to keep from spitting on the floor.

Stallone Wisely Decides Not To Self-Norbit Himself

Six days ago Deadline‘s Nellie Andreeva reported two things about Sylvester Stallone and Rambo: New Blood, the Fox TV series. One, that he would executive produce the series and two, that she was hearing “conflicting information whether Stallone has a deal in place to act in the project, about Rambo and his son, though he certainly has the option to do so…some sources indicate that the actor would reprise his role as the famous renegade soldier, which he has played in all four Rambo movies to date, while others say that he won’t appear in the series.”

Today Andreeva reported that Stallone is out of it entirely. “Contrary to reports, Sylvester Stallone has opted not to participate in the planned Rambo television series in any way at all,” a spokesperson for Stallone said.

Translation: Stallone, a likely Best Supporting Actor nominee for his artistic comeback role in Creed, doesn’t want to self-Norbit himself during Oscar season by bringing up Rambo associations, and so, whatever the actual particulars of the Rambo: New Blood deal, he’s publicly distancing himself. No lunkhead action flicks, no Expendables 4…none of that stuff while he’s in the Oscar race. Smart move.

Question: In industry circles “Norbit” has become a verb — to self-Norbit is to temporarily ruin one’s artistic credibility by way of tacky, low-rent associations in past, current or future films or TV series. In an outside-Hollywood sense one could self-Norbit by allowing unsavory associations of any kind to surface, although I have doubts as to whether the term will ever have any currency beyond geographical Los Angeles.

LAFCA Goes For Spotlight re Best Picture, Screenplay; Fassbender, Rampling, Vikander and Shannon Take Acting Honors

The Los Angeles Film Critics Association — often contrarian as far as old-fart Academy thinking is concerned, often looking out for their pet ponies, sometimes preciously inclined — has done the right thing, I feel, by giving the org’s Best Picture award to Tom McCarthy‘s Spotlight. Ditto their honoring Max Max: Fury Road‘s George Miller with their Best Director award — yay, George! LAFCA also gave their Best Actor trophy to Michael Fassbender for his hard-hammer performance in Steve Jobs (Son of Saul‘s Geza Rohrig came in second), and their Best Actress award to 45 YearsCharlotte Rampling (who edged out Brooklyn‘s Saoirse Ronan).

Ex Machina/Danish Girl‘s Alicia Vikander was named Best Supporting Actress and 99 Homes/Freeheld‘s Michael Shannon was handed LAFCA’s Best Supporting Actor award. The Best Screenplay award went to Josh Singer and Tom McCarthy for Spotlight, and Asif Kapadia’s Amy was named best documentary. Anomalisa won the Best Animated Film award over Inside Out — somebody finally said “sorry, not this time” to Pixar! John Seale‘s cinematography for Mad Max: Fury Road was also awarded; ditto Colin Gibson‘s production design for that film. Carter Burwell won for best musical score for both Anomalisa and Carol. The Best Editing award went to The Big Short‘s Hank Corwin. LAFCA’s previously announced recipient of their 2015 Career Achievement honoree is editor Anne V. Coates.

From a participant: “Just so you know, there was no sense of consensus for Best Picture. The votes were spread all over the place, more than any other year I’ve witnessed. There was no clear frontrunner.”

Schmooze, Celebrate, Brunch Munch


(l. to .r.) Open Road CEO Tom Ortenberg, Emma Stone, Spotlight star Michael Keaton after screening of Tom McCarthy’s film at ICM screening room — Wednesday, 12.3.

From Here To Eternity Oscar winners Donna Reed, Frank Sinatra during press-room photo session following 1954 Academy Awards.

LAFCA members enjoying their brunch while online columnists the world over wait patiently for them to finish. Thanks, guys! How was the potato salad?

Beantown Crix Embrace Spotlight, Dano/DiCaprio, Rampling, Rylance, Stewart

What’s up with critics relentlessly handing out Best Supporting Actress awards to Kristen Stewart for her performance in Clouds of Sils Maria? NYFCC, Boston Online Film Critics and today’s Boston Film Critics awards…she was very good in that 2014 Olivier Assayas film (shot in ’13, premiered in Cannes 19 months ago) but calm down. (Update: Stewart was also the LAFCA runner-up for their BSActress award.) How about giving an occasional Best Supporting Actress award to a performance from a 2015 film now and then? What about the entirely deserving Elizabeth Banks performance in Love & Mercy or that show-stopping Jane Fonda performance in Youth? Seriously, this Stewart vogue has to stop. Otherwise hey-hey for Love & Mercy‘s Paul Dano sharing the Beantown Best Actor award with The Revenant‘s Leonardo DiCaprio. And hooray for Spotlight winning Best Picture and Best Screenplay. Here’s the Variety report.

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Lobby Chat With Amy Maestro

The day before yesterday I spoke with Asif Kapadia, the director of the highly praised, Oscar-favored Amy, which has so far won the National Board of Review’s Best Documentary award as well as the same honor from the Satellite Awards. We met at the too-cool-for-school Standard Hotel with all the intense ice-blue colors and the hot babes roaming around. I began with my standard beef that almost all musician biopics (be they doc or narrative) are about self-destruction — dying young from drugs and alcohol abuse. Whether it’s Amy Winehouse, Hank Williams, Nina Simone, Janis Joplin, Jim Morrison, Charlie “Bird” Parker, Edith Piaf or Bix Beiderbecke — it’s the same damn story every time. They grew up hard, found fame with their great gift, burned brightly for a relatively brief time and then keeled over. Kapadia offered a smart and spirited retort, of course, and we were off to the races. Here’s the mp3.


Amy director Asif Kapadia — Friday, 12.4, 3:40 pm, lobby of Standard Hotel.

From my 7.2.15 review: “I came out of Asif Kapadia‘s Amy with a sense of sadness, of course. But I didn’t have any one reaction, to be honest. Ten minutes after the screening ended I bought Back to Black. When Amy Winehouse was great, which was nearly every time she sang, she was insanely great. But she was a mess for so long and such a foregone conclusion in terms of an early death that when it finally happened it was hardly a shock. It was almost a relief because at least the tortured aspects of her life had come to an end. That sounds a bit heartless but some people seem so bound for oblivion that you can’t help but feel a certain distance and disinterest.

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