Tuesday, 7.1, will mark the tenth anniversary of Marlon Brando‘s passing. I’m not proud to admit that I’m mentioning this only because I happened to notice last night that the New Beverly Cinema is screening a couple of his films in mid-July as a kind of tribute. What does it say about his legacy that I, a lifelong Brando worshipper, needed this little nudge? Don’t ask. Everything and everyone turns to dust sooner or later, but it breaks my heart to think that in the minds of most Millenials Brando’s legacy probably doesn’t even exist. People in their teens, 20s and early 30s regard the ’80s as ancient history so do the math on a guy who peaked for a little more than seven years between late ’47 and early ’55, and then bounced back in ’72 and ’73 with The Godfather and Last Tango in Paris.

The fact is that for audience members like myself (and not his industry friends, acquaintances and colleagues) Brando began to gradually wither and water himself down right after this bounce-back period, and he stayed in that slow downturn mode for 30 or 31 years. So when he finally went it almost felt like an afterthought.

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A director friend who knows people says he’s “hearing on pretty good authority they’ll be using CGI to put Harrison Ford’s face on a body double, probably his usual stunt double, so he’ll be able to complete his Star Wars, Episode VII role no matter what the state of his recovery will be.” CG face-pasting was a big deal 14 years ago when Gladiator technicians brought Oliver Reed back to life for scenes he hadn’t shot at the time of his passing. The late Paul Walker was recently CG’ed for unfinished Fast and Furious 7 scenes, etc. The Ford work, if and when they actually decide to do it, will presumably be less difficult given the fact that he’s alive and relatively well.

Here are two stories — one from Techtimes, another from Latino Review — that indicate why CG face-pasting might be necessary. They’re both rumor-riffing that Ford’s busted leg has really screwed things up schedule-wise, and that JJ Abrams wants to bump the Star Wars, Episode VII release date to May 2016. But Disney’s Bob Iger has allegedly ixnayed that one in the bud. He wants it out in December 2015, come hell or high water.

There are two major bomb explosions in Richard Lester‘s Juggernaut (’74), and yet the viewer never sees the explosion or the damage to the hull of the cruise ship Brittanic. Obviously because the producers couldn’t afford it. It half works but not really — such an omission would never be tolerated today. One of Richard Harris‘s more arresting lines in Juggernaut is “I may be stupid, but I’m not bloody stupid.” Quentin Tarantino re-used this line in Grindhouse (I think it was spoken by Rosario Dawson?), but “bloody” doesn’t quite work with an American accent. Kino Lorber is bringing out a Juggernaut Bluray on 9.9.14.

Hollywood Elsewhere is proud and gratified to announce that visionary tough-nut director Darren Aronfosky has joined Guillermo del Toro, JJ Abrams, Alfonso Cuaron, Rian Johnson, Alejandro Gonzalez Inarritu and Matt Reeves in agreeing to sign that “save the 70mm Alamo” letter. (I’ve explained the situation too many times now so here’s the link.) More reach-outs on Monday. Alamo nut Phil Collins was recently quoted as saying he hasn’t been asked to lend support so maybe he might if asked? Here’s an update from Digital Bits editor Bill Hunt, a post from Obsessed With Movies’ Bill Desowitz, and a Facebook plea from David Nevols.

Eugene O’Neil‘s Long Day’s Journey Into Night has nothing on the raging feline tempest caused by yesterday’s arrival of Jazz, an 11 week-old ragdoll. You can cut the hostility with a butter knife. Mouse, my obese Siamese otherwise known as “Fatty”, is seething with resentment. He’s done nothing but snarl and sulk and give me death-ray looks. Even Aura, the alpha-vibed white munchkin, is hissing at Jazz and she never gets angry at anyone. I don’t have a logical reason for bringing Jazz home. I knew it wasn’t the smart thing to do, but I did it anyway.

Friday, 6.27 pm, 7:20 pm.

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Here’s another one that went by me the first time. Six weeks ago Bill Maher sat for an interview on Larry King‘s “Politicking” videocast, and somewhere around the halfway point Maher suggested the possibility of a Hillary Clinton-Elizabeth Warren “granny” ticket. I felt a little energy surge when he said this. Everyone is presuming Clinton will win because of the historical gender card, but nobody’s in love with her. She’s generally perceived as a moderate corporate-backed liberal centrist who will, at best, “address” income inequality and climate change without really getting tough about it. One result is that there doesn’t seem to be much strong support for Clinton among Millenials or progressives. Warren as HRC’s vice-president could remedy that situation to some extent. Warren will at least arouse a little passion. Does a granny ticket make sense to anyone in this corner?

It was announced a day or two ago that Neil LaBute‘s Reasons To Be Pretty will have a month-long run at the Geffen Playhouse (i.e., the Gil Cates Theatre) from 7.29 to 8.31. Nick Gehlfuss, Shawn Hatosy, Amber Tamblyn and Alicia Witt under director Randall Arney. The news naturally recalls my 2009 viewing of LaBute’s play on the Broadway stage, and my initial reaction and then how I got into a rough-and-tumble with a Jezebel editor. LaBute’s play hinges on a guy offering a careless (if not necessarily malicious) remark to his girlfriend, which is that she’s “regular” looking. I wrote an interpretation about how this remark, however tactless, wasn’t mean-spirited. I offered a view that women in the looks realm of A-minus to C-plus are actually more desirable given the likelihood that they’re probably (though not necessarily) more spiritually developed than A-plusses, double As and triple As as a general rule.

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There are two…well, technically three versions of The Disappearance of Eleanor Rigby (Weinstein Co., 9.26) — a Him/Her version (which constitutes two films) and a Them/mashup version. I didn’t see The Disappearance of Eleanor Rigby: Him and Her at last September’s Toronto Film Festival, but I know it took 191 minutes to tell the same breakup story from the differing perspectives of James McAvoy and Jessica Chastain‘s characters. Word around the campfire is that Him/Her is a more interesting film than the 123-minute Them, which tells the same tale in a generic, neutral-ish way. In any event I saw Them last May in Cannes, and I can tell you three…no, four things:

(1) Them is an intimately rendered, believably performed adult relationship piece that “does it right,” for the most part. It’s about character and trust and need and longing and trauma, and it deserves all the nice things that have been said about it. As such it casts…how to say it?…a certain favor upon director-writer Ned Benson, at least in terms of how it feels as it moves along during the first hour. Benson is one of the good guys — a smart, mature filmmaker who’s tried to make and in many ways has succeeded in making the right kind of subtle, sophisticated troubled-relationship film;

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Why release another Jupiter Ascending trailer now that it’s been bumped into next February? Who cares? What’s the point? Game all but over.

After (a) persuading six major-league directors (Guillermo del Toro, JJ Abrams, Alfonso Cuaron, Rian Johnson, Alejandro Gonzalez Inarritu and Matt Reeves) to sign a letter requesting MGM to allow Robert Harris to attempt a restoration of the 70mm version of The Alamo with outside funding, (b) warranting a mention on the Alamo Wiki page and (c) getting editorial attention from Breitbart.com’s John Nolte, Team Alamo is having a slow second day. The two Stevens (Soderbergh and Spielberg) haven’t responded; ditto Martin Scorsese and David Fincher. I also haven’t heard back from Wes Anderson and Alexander Payne, but give ’em time. I’ve been too lazy to reach out to George Lucas and James Cameron, but a critic friend has offered to ask Clint Eastwood to sign the letter. Who else should I approach?

Tweet #1: Matt Reeves‘ excellent Dawn of the Planet of the Apes (7.11), which I saw Tuesday night on the Fox lot, is the Empire Strikes Back of this franchise — a drizzly, darkly lighted dystopian noir that is nonetheless a remarkably subtle and nicely-shaded film about peace and compassion. Tweet #2: It’s basically a thoughtful and humanistic deal that pays off in dramatic terms (or as much as a middle-act trilogy film can do that, given the restrictions), but has a thematic current that laments the war impulse in all beings and species. Tweet #3: Rather than endorse the original Pierre Boulle idea about all men being violence-prone and all apes being basically peaceful (or at least not as bad as humans), Dawn shows that both species have their warmongers and troublemakers, and that the actions of wiser, calmer peacemakers (i.e., leaders more in the Obama than the Dubya mold) are needed to chill things down. Tweet #4: Dawn has some truly beautiful 3D photography with one exquisitely moody composition after another (when it’s not flat-out nocturnal the movie is covered start to finish in misty rainfall and rainforest fog) and a generally lamenting anti-violence attitude. Tweet #5: I was particularly struck by Andy Serkis‘ remarkably subtle performance as the sad and heavily-burdened Ceasar, which is easily an award-quality thing. Cheers also to Jason Clarke for lending real heart and tenderness to a role that might have felt rote or routine with another actor. Tweet #6: Dawn is a much less predictable and more layered film than I expected.

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I don’t want to know from Michael Bay‘s Transformers 4: Age of Extinction. Nothing…nothing. It’s not playing anywhere, people aren’t going to see it, I don’t know what you’re talking about, it doesn’t exist. After next weekend it literally won’t exist and we can all move on. I just don’t see why any kind of attention whatsoever should be paid. To what end? What good can possibly come? I don’t understand why Indiewire‘s Anne Thompson and Eric Kohn took the time to discuss it.