Corey Feldman has written a tell-all book called “Coreyography.” About halfway through his HuffPost chat with Ricky Camilleri, Corey Feldman responds to his reputation as a “Poster Boy For Fallen Child Stars.” Quote: “I don’t blame anybody. I don’t blame myself. Life is what life is. Things happen the way they’re meant to [happen]. And at the end of the day, I’m eternally grateful that I’m still here, that I’m still working [and whatnot]. I’m eternally happy. I feel like a blessed man. You have to keep moving forward, keep reinventing yourself, keep recreating yourself.” It gets better around the 15-minute mark. “Michael Jackson [wasn’t] a child molester”? Really?

Earlier this year Charlie Countryman (Millenium, 11.15) was called The Necessary Death of Charlie Countryman — a film festival title that was zotzed for obvious reasons. Right now is has a 33% Rotten Tomatoes rating. “A gripping, violent film that owes an unabashed debt to the Tarantino-penned love-in-low-places story True Romance,” wrote Empire‘s Damon Wise. Variety‘s John Anderson stated that the film contains “barely a serious moment…with the actors offering up vaguely tongue-in-cheek portrayals of characters either too cliched or unpleasant to deserve much else [while the] ending will have viewers shaking their heads in dismay.”

Not that anyone needs reminding but Dallas Buyer’s Club has a 94% Rotten Tomatoes rating. That makes it required viewing this weekend if you live in New York or Los Angeles, where the Focus Features release is now playing. I’ve seen it twice and I’m actually thinking about going a third time tomorrow or Sunday on my own dime. I’m figuring there’s a little more juice to be squeezed out of the rag. In terms of my own viewing excitement, I mean. The movie has obvious potential to be nominated in at least three or four categories — Best Picture, Best Actor, Best Supporting Actor, Best Adapted Screenplay, etc.

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Warner Home Video’s new Bluray of William Wyler‘s The Best Years Of Our Lives looks tolerable for the most part and in some portions is quite pleasing, but — I’m genuinely sorry to report this — it looks compromised here and there by Egyptian grainstorms along with a few soft-focus passages. This is partly, I’m told, because the original negative was lost a long time ago (possibly due to being on a ship that sank in the North Atlantic), and that the source materials are from a couple of fine grain prints (neither one of which is completely usable) plus a dupe negative or two. The bottom line is that this 1946 classic and Best Picture Oscar winner can never look wonderful and will always look a bit dupey and compromised in spots. I accept that, but I swear that the old DVD looked just as good if not a bit better on my old 26″ Sony flatscreen than the Bluray does now on my 60″ Samsung. 13 years ago I had no significant issues with the DVD, but today’s Bluray is an in-and-outer.

The great Myrna Loy trying to smile and laugh her way through a mosquito swarm in an early scene from The Best Years of Our Lives.

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Some wacko started shooting people inside Terminal #3 at LAX around 9:30 this morning. 10 or 15 “very loud” shots, some guy is reporting. TSA agent killed; “multiple injuries.” The young, black-clad shooter was reportedly carrying an AR-15, and has since been cuffed. Obviously a terrible trauma and tragedy, but when something like this happens the reaction by law enforcement and security officials is always the same. Shut everything down, ground all flights, explode everyone’s travel plans to pieces and bring the entire Los Angeles air-travel world (even Burbank and Long Beach airports have reportedly gotten into the act) to an all-but-absolute standstill. The motto seems to me “somebody shot somebody? Well, guess what, public? You’re going to pay for this. We’re bureaucratically obliged to treat this shooting by a lone psychopath as the spearhead of some kind of coordinated terrorist attack…sorry but we have to think this way…and so we’re going to waste your travel plans. Trust us, the pain starts now.”

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Some people need a support system to survive. They’re too susceptible to this or that demon and can’t do it on their own. They need something or someone strong to get them through the choices and struggles of the day. To hear it from Seduced and Abandoned director James Toback, Robert Downey, Jr. is such a person, and his controller is his wife, Susan. There’s nothing horribly wrong with this kind of submission — Downey’s career is obviously doing very well. It’s just that certain kinds of creative energies and wild-ass improvs are no longer in Downey apparently — they guy he wqs when he co-starred in Two Girls and a Guy and Black and White no longer exists. Or so Toback says in a chat with HuffPost Live‘s Ricky Camilleri.

I’ve never used the word “madding” in speech nor have I typed it out. Except, of course, when referring to John Schlesinger‘s 1967 adaptation of Thomas Hardy‘s same-titled novel, which was published in 1874. In Hardy’s mind madding meant frenzied or manic. (It was oafish for the guys who wrote “Volare,” the 1958 Dean Martin single, to change the line to “away from the maddening crowd.” Dopes.) Now, of course, Thomas Vinterberg is lensing a new version with Carey Mulligan in the Julie Christie role (i.e., Bathsheba Everdene). Matthias Schoenaerts has the Alan Bates role (sheep farmer, man of the soil, no manicure), Tom Sturridge plays a caddish cocksman in uniform (i.e., the Terrence Stamp role) and Michael Sheen plays the prosperous William Boldwood (i.e., Peter Finch‘s character). Schlesinger’s film was regarded as a picturesque slog in its time, and I frankly can’t see Vinterberg’s version amounting to very much. A woman so desirable and fascinating she had three lovers and caused much romantic strife…big deal.

I was ready to run a piece about Jon Turtletaub‘s Last Vegas (CBS Films, 11.1) after catching it two weeks ago but it wasn’t cool to post, embargo-wise, until two days ago. Now I can’t seem to get it up. All I know is that I was expecting a piece of throwaway jizz, and it’s a little better than that. Not that much better, mind, but it’s likable and good natured — an unpretentious, decent enough hoot. Dan Fogelman‘s script is hardly inspired, but it’s not written stupidly or for apes with shopping-mall tastes. It’s still a semi-discardable thing — it’s perfect for an airplane flight — but it’s certainly better than a 41% Rotten Tomatoes rating would indicate. Kevin Kline and especially Morgan Freeman really get into the gleeful foolishness of making a stupid movie, and it’s catching. On top of which Michael Douglas, Robert DeNiro and Mary Steenburgen handle themselves nicely. Douglas and Steenburgen’s scenes together have a curious but symmetrical undercurrent in that both have very clearly had “work” done, and so you’re thinking to yourself, “Yeah, they both feel the same away about plastic surgery so they might be a match.”

In reporting about a special David O. Russell tribute at AFI Fest on Friday, 11.8, L.A. Times reporter Mark Olsen has reminded that Russell’s The Fighter had a surprise screening at the 2010 AFI Fest, and that Hustle could “possibly be in line for the same unveiling.” A Russell rep has told me, naturally, that there will be “no surprise AFI Fest screening” of American Hustle, and that’s fine. (If they were to confirm it now it wouldn’t be much of a surprise, would it?) I know that if Hustle doesn’t screen at AFI Fest it’s going to look like Russell and Sony are a bit uncertain about things. Russell has been fine-tuning and test-screening this puppy for a while now, and I know it’s going to start to be press-screened in late November so why the hell not screen it as a surprise? Why go half-assed with a q & a and a tribute reel (including a few Hustle clips) during the 11.8 tribute? Does American Hustle kick the competition to the curb or doesn’t it?

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Jason Reitman‘s Labor Day (Paramount, 12.25) “is a decently crafted, amber-lighted period drama, based on the 2009 Joyce Maynard book and set during the Labor Day holiday of 1987,” I wrote from the Telluride Film festival on 8.29.13. “It begins as a kind of home invasion situation that isn’t quite a hostage or kidnapping thing. It’s a family love story of sorts mixed with a criminal-hiding-out-in-the-home-of-a-single-neurotic-mom-and-her-son story. A spin on a yarn that sinks in every so often. It has a current of sincerity. It tries to do the right thing.

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In his latest Grantland column, Mark Harris has advanced an idea about presumed Oscar-worthy performances that I’d kind of forgotten about or never really waded into. Academy members vote for an actor whom they admire for the skill and depth of his or her acting chops (as well as the degree to which they’ve physically disappeared into a character by losing or gaining weight or wearing a prosthetic nose) but also by the measure of how sorry they feel for the character he/she has portrayed.

Why do we feel sorry for a character or for anyone in real life? Because we’ve been there and we can relate. We know what it’s like to be in his or her shoes and what the shoulder weight feels like. Obviously Academy members vote for actors they like or admire or feel in awe of, but more often than not the deep-down thing kicks in and they vote for characters they feel closest to. Which is why, I’m suspecting more and more, All Is Lost‘s Robert Redford is probably going to win for Best Actor.

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Last April I posted one of the most logical, sensible and fair-minded parliamentary suggestions in the nine-year history of Hollywood Elsewhere. (The column is 15 years old if you count the Mr. Showbiz version, which began in August of ’98, and the Reel.com version from ’99 to ’02 and the Movie Poop Shoot version from ’02 to ’04). It was about the need to minimize the impact of the likes and dislikes of out-to-pasture Academy members. Not in a dismissive or disrespectful way, but moderately and appropriately.

“If the Academy wants to be part of the world as it is right now and have the Oscar winners reflect this, it has to reduce the influence of people whose professional peaks happened 15 or 20 or more years ago,” I wrote. “These people will retain membership and all the priveleges that go with that, but their votes won’t count as much as those who are actively working and contributing to the films of today, or at least films made within the last five to ten years — simple.

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