Is this the one in which Bill Murray plays an over-the-hill music industry manager who somehow gets himself stranded in Afghanistan, and then he runs into some Islamic extremists and they decide to kidnap him for a ransom except nobody will pay anything because he’s a has-been so the baddies decide to behead him in a public square? No? That’s another one? Actually this version seems a little funnier. Open Road will open Barry Levinson‘s Rock the Kasbah on 10.23.
The Whole World Is Watching
Three weeks ago a Gravitas Features spokesperson indicated to me that Colin Hanks‘ All Things Must Pass would not open in September, as Variety‘s Dave McNary had reported last March. But she wouldn’t say when exactly. Since that day the world has been waiting with bated breath to know when we could all put on our trunks and dive into a Tower Records nostalgia pool. Today — Thursday, 8.27 — Gravitas finally stepped up to the plate and announced a 10.16 opening in select theatres “with a VOD release to follow.” Well, yeah, naturally…but when? This is the question, dude. This is our concern.
Gurus to Scorsese: Did You Know That Silence Is Opening This Year?
Four days after the Gold Derby gang posted their annual gut-instinct, know-nothing award season predictions, the good old Gurus of Gold have weighed in with their spitballs. But this time they’re splitting the chart into three categories — (1) Already Widely Seen/Festival-Premiered, (2) Making The Festival Run and (3) Coming in Mid-October or Later.
The most exciting Guru news is an apparent conviction (shared by all except for The Hollywood Reporter‘s Scott Feinberg, Indiewire‘s Anne Thompson and Susan Wloszczyna) that Martin Scorsese‘s Silence will be released this year. That’s not what I’m hearing but if it is, great! But who have these gurus been talking to?
Todd Haynes‘ Carol is the most highly-rated in the first category — no surprise — followed by Inside Out (forget it), Mad Max: Fury Road (thumbs up, agree with Kyle Buchanan), Youth and Brooklyn.
Among the Making The Festival Runners the highest ranked are The Danish Girl, Steve Jobs (current HE fave), Spotlight, Black Mass, Trumbo and Suffragette. The follow-ups in this category are Our Brand Is Crisis, I Saw The Light, Where To Invade Next, The Program, Room, The Lady In The Van, Legend and Beasts of No Nation.
“Kill That Dog”
Screen Archives is accepting pre-orders for a Bluray of James Foley and Nick Kazan‘s At Close Range for $29 and change — call it $30 plus shipping. Last August I rented an Amazon digital stream of this 1986 classic for only $4, and it looked really great. (You’re not going to convince me that the Bluray looks better.) And it’s purchasable for $15. It’s vaguely unsettling to consider that this rural Pennsylvania crime film is nearly 30 years old.
Evil Is Not Just A Concept
What kind of vile hell-hounds would destroy a 2,000 year-old Syrian temple — a UNESCO Heritage site? Answer: the same kind of vile hell-hounds who cut off heads for You Tube hits. And the world is basically saying, “Too bad but not our problem.” On July 27, 1942 around 4,000 paintings (Klee, Miro, Picasso, Dali) were incinerated by Nazi authorities outside the Jeu de Paume in Paris, but to blow up the ancient temple of Palmyra? ISIS regards ornate tombs and statues as idolatrous. Last week they beheaded Khaled Asaad, 81, the chief archeologist of Palmyra, accusing him of being “director of idolatry” at the site. These guys (approximately 20,000 strong) need to be herded into a deep pit and buried alive.
How Ya Like Me Now?
No reviews or social media postings on Baltasar Kormakur‘s Everest (Universal, 9.18) until the wee hours of September 2nd, but I can at least say that before last night I was convinced that Kormakur was more or less the new Renny Harlin. Kormakur’s Contraband and 2 Guns, a pair of negligible, jizz-whizz Mark Wahlberg actioners, were enough to persuade anyone of this hypothesis. I’m not saying anything about anything, but it’s a major knockout feeling and an eye-opener when a guy you’ve more or less written off suddenly conveys that he has a lot more in his quiver.
Girls Together Affectionately
Earlier this month three or four different versions of posters for Tom Hooper‘s The Danish Girl somehow leaked out. They were quickly squelched by Focus Features. Now the final approved version has popped, and for whatever reason the FF guys have decided to go with a swoony, softly focused, amber-toned image. A portrait of Eddie Redmayne/Lili Elbe and Alicia Vikander/Gerda Wegener minus any sharpness or any light-of-day neutrality…a yesterday vibe, edges sanded down, not too much definition. The poster is telling us that the key story element isn’t the transition itself but “a love story that knows no gender” — i.e., the fact that Vikander stays the course.
Owen’s Reluctance
You’d think that a brainy, circumspect guy like Owen Wilson, who voted for Barack Obama once or twice, would be “feeling the Bern” right about now, but no. (Has he or hasn’t he seen Inequality For All?) And he’s not on Team Hillary either. Is he a Joe Biden man? Is he one of those Elizabeth Warren supporters who refuses to fold the tent? I think it kind of means something that Owen, who’s one of the most free-thinking, oddly mystical-minded actors I’ve ever spoken with, is in a kind of disengaged levitational place. Plus he’s of two minds on Donald Trump — appalled but faintly amused (“You can’t help but get a kick out him…you sort of feel he could be a character from Network“). Here‘s the interview.
Another Christmas “Comedy” With Milquetoast Brood
Less than two weeks ago Ed Helms was hauled before a Movie Jail judge and sentenced to a ten-year…okay, make it a five year probation for having starred in Vacation, which is tied with No Escape for being the most repellent film of 2015. I’m sorry but the terms of Helms’ probation forbids all film lovers from being favorably disposed to any film he may costar or star in between now and mid-August of 2020. So that’s an ixnay, I’m afraid, for Jessie Nelson‘s Love The Coopers (CBS Films, 11.13). Costarring Diane Keaton, John Goodman, Alan Arkin, Jake Lacy, Anthony Mackie, Amanda Seyfried, June Squibb, Marisa Tomei and Olivia Wilde. Will Keaton be in a good movie ever again, or is she stuck on an irreversible downslide? Her last decent film along these lines was The Family Stone, which is almost ten years old now.
Tell Us A Good Story
Today, 8.26, is Women’s Equality Day — the 95th anniversary of the final certifying into law of the 19th Amendment to the U.S. Constitution, which granted women the right to vote. (The 19th Amendment was actually ratified on 8.18.20.) The amendment had first been proposed in 1878 so the process took 42 years. It didn’t become law because women smiled at lawmakers and said “please.” It happened because they pushed for it, and then pushed and pushed and pushed until it hurt. Power always has to be fought for, and this often means that the foot soldiers of any political movement will have to suffer cuts and bruises and deprivations. I just hope that there’s more to Sarah Gavron‘s Suffragette (Focus Features, 10.23) than a dramatization of what a struggle it was for English women to fight against complacency and dismissive attitudes. I’m just hoping there’s more to it than just “these women really paid the price.”
James Joyce’s “Ulysses”
Five or six days ago I was at M Cafe de Chaya, a very cool place that specializes in macrobiotic dishes, to meet a couple of ladies. It was just before 9 pm. I ordered something or other, went out to the patio and noticed this pretty blonde in her late 20s. (Maybe her early 30s.) She acknowledged my glance and smiled. We chatted a bit. She told me her name. I asked what she did and she eventually confided that she worked as a hostess at a high-stakes Beverly Hills card game. Me: “You mean one of those games that guys like Tobey Maguire and Ben Affleck attend?” She nodded. Me: “The money, the tips are pretty good, I imagine.” She: “If somebody wins big…”
In a 2014 interview with former “poker princess” Molly Bloom, who hosted one of the hottest high-stakes games in Los Angeles (and also one in New York) and who wrote a book about her experiences called “Molly’s Game“, Bloom is asked “about the models that hung around the games to provide eye candy.” Bloom: “The girls I chose weren’t stupid and they weren’t bimbos. I tried to mentor them and empower them. I told them, ‘Don’t sleep with these guys.’ They’d make $10,000 for doing nothing.”
The not-to-be-named blonde and I spoke a bit more and then my two friends showed up. I introduced them to poker lady, lah-dee-dah, greetings all around, chit-chat. And then five or six minutes later she finished her sandwich, got up, smiled and waved goodbye.
Symphony From A Visual Virtuoso
Paolo Sorrentino‘s Youth “is a visually poetic, beautifully captured, symphony-like film, which is what Sorrentino does, of course. This has been his signature style in The Great Beauty and Il Divo (let’s ignore This Must Be The Place) and here’s the same tray of gourmet delights — deliciously photographed, serenely scored, composition for composition’s sake, drop-dead delectable, etc. And at the same time Youth is rather languid and swoony and a touch melancholy from time to time, and dryly amusing whenever Michael Caine and Harvey Keitel chew the fart fat while walking in the hills or sitting in a hot tub or sipping tea. But this is mostly a film that celebrates Sorrentino’s gifts as a visual composer.
“And I’ll tell you something. After a while I wanted a respite from all the beautiful framing and the luscious, perfectly lighted Swiss scenery. I wanted Caine and Keitel to take a train to Bern or Zurich on some pretext and hit a topless bar or something, if only for a few minutes respite from Sorrentino Land, which — don’t get me wrong — is a fine, rapturous place to be but which can feel, after a time, a bit narcotizing. You could even say that it offers a kind of confinement. It’s not that I don’t value it. I’m not an idiot. I’ve been savoring fine cinematography, editing and production design all my life, and I know what goes.