On 5.26 I noted that a clip from Xavier Dolan‘s Mommy, which will be shown within a 1:1 aspect ratio, seems closer to 1 to 1.2 or 1 to 1.3 — taller than wide. Ditto with this, the first official trailer. And yet if you tilt your head sideways it’s a perfectly square box. “It probably goes without saying that the popcorn-munchers are going to have a very slight problem with 1:1, like they’re being deprived on some level,” I wrote. “Many/most of us been conditioned to accept 1.37 as the official non-wide a.r. but the taller-than-wider illusion might (I say ‘might’) get in the way for some. Or strike them as visually precious.” Does Mommy have any kind of U.S. distribution deal? Not to my knowledge. (Pic will be distributed in Canada this September by eOne.) Honestly? If I was a distributor I wouldn’t touch Mommy with a ten-foot pole. The movie (or the portion I saw of it, about 70 minutes) is crazily original, but the aspect ratio is a killer. It’s too severe.

A friend who’d never seen Lewis Milestone, Aaron Rosenberg and Marlon Brando‘s Mutiny on the Bounty (’62) said he’d be catching it tonight at the New Beverly, where it was being shown in 35mm. It won’t be worth it, I replied. I like the idea of the New Beverly as much as the next guy, but it’s never been anything special projection- or sound-wise. It’s certainly no place to see a large-format film that was meant to be savored on a big, super-wide screen (if not at the ideal 2.76:1 aspect ratio then at least 2.55:1) with six-track, well-amplified directional sound. But I nonetheless imagined that Brando’s Bounty might look better than I expected, and so, like a moron, I went there tonight and took a seat in the second row. It looked like dogshit. Dupey, brownish tones, substandard projection lighting (I’d say around 8 foot lamberts, or 6 lower than the ASCAP standard) and nowhere near wide enough. The New Beverly doesn’t even present a true Scope aspect ratio (i.e., 2.35:1). It looked to me like 2.25:1. Robert Surtees shot Bounty in Ultra Panavision 70 (2.76:1), and his work looks terrific on the Warner Home Video Bluray. The New Beverly not only took a dump on Surtees’ efforts tonight, but on everyone who paid money to see their abysmal 35mm presentation. I left after ten minutes. My own damn fault.

A flattering approximation of how Mutiny on the Bounty looked tonight at the New Beverly — dupey textures, brownish colors, insufficient 2.25:1 aspect ratio. It actually looked worse than this, browner and less sharp.

Full-width Ultra Panavision 70 (i.e., 2.76:1) version of same frame, taken from the Warner Home Video Bluray.

Another approximation of tonight’s projected image at New Beverly.

Full-width Ultra Panavision 70 (i.e., 2.76:1) version of same frame

This has been a bad filing day but I too saw Sex Tape the other night, and I have to say that while I only laughed once (i.e., a bit of slapstick about slugging a dog and knocking him unconscious), I wasn’t in pain for the most part. It’s very hard to make a frenetic slapstick comedy work, and this is a straight-ahead, not awful, reasonably inventive try. I don’t know how sexually risque the premise is, but it’s been launched with a fairly intelligent attitude and what I regard as self-aware, non-ludicrous dialogue. I felt marginally engaged, not bored, somewhat amused. How’s that for a quote line? “I didn’t laugh — well, I laughed once — but it didn’t make me feel miserable either” — Jeffrey Wells, Hollywood Elsewhere. I honestly liked it a bit more than 22 Jump Street, which I hated. There’s a cameo from a well-known funny man that is more than just a “cameo” — it’s a tender moment. More tomorrow.

“I wasn’t expecting that much from Lynn Shelton‘s Laggies (A24, 2.26). I was actually a bit fearful before tonight’s Eccles screening. Having more or less hated Touchy Feely, I thought she might be on a downturn. But surprise — Laggies is the best Shelton pic since Humpday (’09), and that was essentially a bromance. Laggies is a Keira Knightley movie aimed at women and couples, but I swear to God Shelton and screenwriter Andrea Siegel get it right. The only problem is that Knightley’s character lies her teeth off in almost every scene or something like 80% of the film. She doesn’t lie emotionally or behaviorally in our eyes but she’s almost constantly fibbing to…you know what? This needs a more thorough explanation and I can’t tap one out in the back of a moving cab.” — posted on 1.17 during Sundance Film Festival.

I hate the narrator’s voice at the beginning of this trailer. The guy thinks he’s narrating an apocalyptic disaster movie costarring Bruce Willis and Antonio Banderas. All purring machismo, that Don LaFontaine sound. He should try a little discipline. I like to tell myself that my carbon footprint is a bit less now that I’m mostly getting around on a 400 cc Yamaha scooter. (I only use the regular wheels when it rains.) I know I only spend $20 to $25 weekly for gas, if that. $10 or $12 per fill-up, two fill-ups per week if I’m really running around. Yes, I know — to be truly carbon-averse I should be walking or riding my bike all the time. But I don’t live in Amsterdam, you see.

Eddie Murphy did James Brown two or three times on Saturday Night Live, but the Delirious version is my favorite. 31 years ago and obviously old hat, but now it’s renewed hat with Get On Up opening on 8.1. How good is Chadwick Boseman‘s Brown? Pretty good, I’m hearing, but Murphy’s, for me, will always be the shit. How hard is it to do Brown? Just (a) get raspy and snappy and gravelly and (b) ignore your consonants. Concentrate on mood sounds rather than words.

As noted, so far the Get On Up trailers have emphasized the glossy peppy side of James Brown’s persona and performances along with a little taste of some underlying personal issues. They’ve also indicated that Chadwick Boseman was chosen to play Brown at least partly because of his charm and good looks. This new clip indicates a bit more, sombers things up, etc.

Sony Pictures Classics is distributing the two finest films I saw during last May’s Cannes Film Festival — Damian Szifron‘s Wild Tales (a.k.a., Relatos salvajes) and Andrey Zvyagintsev‘s Leviathan. They’ll surely be among the hottest contenders for the 2014 Best Foreign Language Feature Oscar. As per custom, SPC will almost certainly not release either this year as it’s wiser and cheaper to open them early next year, which is when Oscar deliberations in this vein are at their peak. I’d really like to see both play at Telluride or Toronto or at the New York Film Festival or all three. I’m sure they will but I’m mentioning it anyway. Both deliver — one humorously, one darkly.

Snap Quiz: Which Stanley Kubrick characters seem to have a greater sense of humanity, exude a fuller emotional undercurrent and have been given more interesting or flavorful dialogue in their scenes — Tom Cruise‘s Dr. William Harford in Eyes Wide Shut or HAL 9000 in 2001: A Space Odyssey? Answer: HAL 9000. The Swedish-born Marie Richardson is fascinating — no other performance she gave before or has given since will live as long in the public mind. But Cruise is a bloodless robot. He walks into a room and anesthetizes like an assassin, spouting tedious cliches and homilies. On the other hand EWS was obviously shot with an expectation that a fair-sized percentage of the audience would watch it within a 1.37:1 aspect ratio.

I was delighted with New York, I Love You (’08) and Paris, je’taime (’06) so I can’t imagine there’d be any kind of problem with Rio, Eu Te Amo…right? You can tell it’ll be first-rate. Anthology segments from Jose Padilha (Police Squad), Paolo Sorrentino (The Great Beauty), Fernando Meirelles (City of God), Im Sang-soo (The Housemaid), Stephan Elliott (Priscilla, Queen of the Desert), John Turturro, etc. Costarring Emily Mortimer, Vincent Cassel, Jason Isaacs, Rodrigo Santoro, Harvey Keitel (who needs new dentures), Nadine Labaki, Ryan Kwanten and Vanessa Paradis. No current U.S. date but it’ll open in Brazil in September.

Trust me — Craig Johnson‘s The Skelton Twins (Roadside, 9.19), one of the big breakout hits of last January’s Sundance Film Festival, is a much smarter, cooler, more exciting film than what’s indicated by this lazy-ass poster. It looks like a Hader fan Photoshopped this together on his lunch hour. It’s almost as if the distributor said to the artist, “I want you to create a poster that dampens down the enthusiasm for this film…a poster that says ‘meh, no biggie’…a poster that screams Netflix and VOD when there’s nothing else to watch.”

A couple of friends were kicking around the Best Actor field yesterday, and they came up with 17 feasible Best Actor contenders. My revised list goes to 19. But after you boil it down, there are closer to eight or nine performances that will probably make the grade in most people’s minds and therefore go the distance. Obviously nobody knows very much at this stage (i.e., the ass wind is our trade wind) but the discussion right now boils down to “we’ve heard things about this and that Venice/Telluride/Toronto film, and it seems as if these names and performances in these apparent award-season films might possibly connect and combust and lift off the ground, especially if favoring moods and winds of the Movie Godz prevail.” But come down to earth: To really break through a performance has to deliver something strong and different and curiously penetrating, and this kind of performance doesn’t grow on trees or happen that often.

Looking More Favorable Than Most: 1. Michael Keaton, Birdman — an allegedly crackling presence + career redemption + the former Batman star who kind of blackballed himself and then finally came in from the cold with a dark satire about same; 2. Eddie Redmayne, Theory of Everything — depends on the film (duhhh) but something about this being Redmayne’s time plus the standard Oscar-bait lure of struggling with a disability plus a Beautiful Mind-ization of Stephen Hawking seems somehow right and fated to ignite IF there’s a mesmerizing musical score; 3. Steve Carell, Foxcatcher — it is written in a subsection of the Dead Sea Scrolls that he who ups his indie-actor cred in a first-rate melodrama by adopting a spazzy vocal style and making himself grotesque by wearing a prosthetic nose will be Oscar-nominated; 4. Kevin Costner, Black and White — easily among the best Costner performances ever (the flip side of Field of Dreams) and arguably his best ever in this child-custody film, which advance-peekers are calling the most honest, intelligent and revelatory drama about racial relations in this country since Do The Right Thing, and directed and written by a white man at that (i.e., Mike Binder); 5. Bill Murray as himself in Theodore Melfi‘s St. Vincent — a role that reportedly fits him like a glove; 6. Mark Wahlberg, The Gambler — a good role (i.e., self-destructive, well-born college professor), possibly a breakthrough for Wahlberg; 7. David Oyelowo as Martin Luther King in Selma — who knows but if it’s a half-decent film with three great scenes Oyelowo could hit it out of the park (remember he’s also in A Most Violent Year); 8. Chadwick Boseman, Get On Up — a much more authentic, indeed transformative performance than the trailer indicates; Boseman clearly immersed himself thoroughly to become the Godfather of Soul; 9. Timothy Spall, Mr. Turner — the only problem being that I found it difficult to understand what Spall was saying half the time, a possible remedy being subtitles on Academy screeners; 10. Ben Affleck, Gone Girl — Rosamund Pike is said to be the big knockout but Affleck, too, is said to be standing on very firm melodramatic ground (although he may be punished down the road for putting on the Warner Bros. cowl); 11. Miles Teller, Whiplash — you need a token Millenial among Best Actor nominees to persuade under-35s to watch the Oscar telecast, on top of which Teller is manic and sweaty and flat-out electrifying as an aspiring world-class drummer.