According to a story posted two days ago, three different producers have told Deadline Hollywood Daily‘s Nikki Finke that Warner Bros president prexy Jeff Robinov has declared that “we are no longer doing movies with women in the lead.”

Finke concludes that Robinov’s “Neanderthal thinking” is a kneejerk reaction to the tanking of two WB female actioners — The Brave One, a Jodie Foster urban revenger, and the Nicole Kidman pod-people thriller The Invasion.

She fails to mention that still another Warner Bros. femme-topped thriller — Hilary Swank‘s The Reaping — tanked last April, and that four years ago Halle Berry‘s Gothika, another WB action flick, also performed unremarkably.

Finke is missing a key distinction, of course. Would Robinov be saying “no more movies with women in the lead” if WB had recently made a film as good and successful as The Silence of the Lambs, Aliens, Crouching Tiger, Hidden Dragon or Kill Bill? Not likely. If a sweeping statement is required, Robinov should actually be saying that Warner Bros. “is no longer doing female-starring thrillers and actioners produced by Joel Silver.” Silver, after all, produced The Brave One, The Invasion, Gothika and The Reaping.

I’m not saying that that sweeping statements of any kind are wise (they usually make the speaker sound stupid or short-sighted), and I’m also guessing that Finke’s interpretation of what Robinov actually said (or may have said) misses certain shadings and qualifications. Finke can be very strident and simplistic when it comes to female-power issues in the industry.

But if Robinov has in fact said to producers what Finke has reported, my suggested sweeping statement — ixnay on the Silver action chick flicks — is obviously more logical than the one has Robinov allegedly voiced.

Nobel Peace Prize winner Aung San Suu Kyi, the Burmese humanitarian and politician who’s been held under house arrest by military thugs since winning 82% of the Parliamentary seats in her country 17 years ago — that’s not funny. But Moving Picture Blog’s Joe Leydon has noticed something overly sincere about Jim Carrey‘s delivery of his video message about her situation, so he runs a post that snickers at Carrey’s maudlin emoting. (“But seriously folks!”) Doesn’t the reality of the Burma thing balance out the Carrey factor?

A few days ago N.Y. Times DVD columnist Dave Kehr suckered me into buying the just-released DVD of Stanley Donen‘s Funny Face. I hate glossy-synthetic ’50s musicals — I’ve known that for years– and yet I allowed the smooth-talking, snake-oil-selling Kehr to lead me down the garden path.

This is the second time I’ve bought a disc based on a Kehr recommendation that I suspected deep down I wouldn’t like (the first being the Criterion Collection DVD of John Ford‘s Young Mr. Lincoln), and which I traded in later on. Kehr is a superb writer, but he’s a bit of an old-school sentimentalist. Never again.

The IF THERE WAS A GOD… box has been moved to the middle of the column, so as not to challenge the Oscar Balloon’s bottom-of-the-column position. The “pure” Best Picture contenders are only different from the regular Balloon-ers for the inclusion of Once and Zodiac, which absolutely deserve the toast. Nothing to say (for now) about three I haven’t seen — Charlie Wilson’s War, Sweeney Todd and There Will Be Blood.

The Best Director contenders follow, but the acting nominees aren’t very different at all except for Zodiac‘s Robert Downey, Jr. and Before The Devil Knows You’re Dead‘s Ethan Hawke in the Best Supporting Actor category and Stephanie Daley‘s Amber Tamblyn in a Best Supporting Actress slot. In part because I haven’t really hunkered down with this. Things are especially lean on the Best Supporting Actress front. Ideas?

The GOD box reads as follows…

BEST PICTURE (6): American Gangster (Universal Pictures); Before The Devil Knows You’re Dead (ThinkFilm); No Country for Old Men (Miramax); Once (Fox Searchlight); Things We Lost in the Fire (Dreamamount); Zodiac (Paramount). TAIL-GATING: The Assassination of Jesse James by the Coward Robert Ford (Warner Bros.); Atonement (Focus Features); The Bourne Ultimatum (Universal); Control (Weinstein Co.); In The Valley of Elah (Warner Independent); Ratatouile (Pixar/Disney). HAVEN’T SEEN ‘EM: Charlie Wilson’s War (Universal); Sweeney Todd (Dreamamount); There Will Be Blood (Paramount Vantage).

BEST DIRECTOR (6): Ridley Scott (American Gangster); Sidney Lumet (Before The Devil Knows You’re Dead); Joel and Ethan Coen (No Country for Old Men); John Carney (Once); David Fincher (Zodiac); Susanne Bier (Things We Lost in the Fire). RUNNERS-UP: Anton Corjbin (Control); Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford); Paul Greengrass (The Bourne Ultimatum); Paul Haggis (In The Valley of Elah); Joe Wright (Atonement). UNSEEN, UNRANKED: Paul Thomas Anderson (There Will Be Blood); Tim Burton (Sweeney Todd); Mike Nichols (Charlie Wilson’s War).

BEST ACTOR (9): Benicio Del Toro (Things We Lost in the Fire); Emile Hirsch (Into the Wild); Phillip Seymour Hoffman (Before The Devil Knows You’re Dead); Tommy Lee Jones (In The Valley of Elah); Sam Riley (Control). RUNNERS-UP: Casey Affleck (The Assassination of Jesse James by the Coward Robert Ford); Josh Brolin (No Country for Old Men); Chris Cooper (Breach); James McAvoy (Atonement); Adam Sandler (Reign Over Me); Denzel Washington (American Gangster). UNSEEN, UNRANKED: Daniel Day-Lewis (There Will Be Blood); Tom Hanks (Charlie Wilson’s War);

BEST ACTRESS (8): Halle Berry (Things We Lost in the Fire); Cate Blanchett (I’m Not There); Julie Christie (Away from Her); Marion Cotillard (La Vie En Rose); Keira Knightley (Atonement); Angelina Jolie (A Mighty Heart); Ellen Page (Juno), Amber Tamblyn (Stephanie Daley). UNSEEN, UNRANKED: Amy Adams (Enchanted).

BEST SUPPORTING ACTOR (5): Javier Bardem, Tommy Lee Jones (No Country for Old Men); Ethan Hawke (Before The Devil Knows You’re Dead); Paul Dano (There Will Be Blood); Robert Downey, Jr. (Zodiac). RUNNERS-UP: Mark Ruffalo, Anthony Edwards (Zodiac). UNSEEN, UNRANKED: Paul Dano (There Will Be Blood); Phillip Seymour Hoffman (Charlie Wilson’s War); Liev Schreiber (Love in the Time of Cholera).

BEST SUPPORTING ACTRESS (4): Vanessa Redgrave (Atonement); Marisa Tomei (Before The Devil Knows You’re Dead); Susan Sarandon (In The Valley of Elah); Saoirse Ronan (Atonement).

“You were right and I was wrong.” Beat, beat…a full five-second pause. “About the horses. The Lipizzaners. They are from Spain, not Portgual.” Spoken by Gene Hackman at the tail end of Crimson Tide, and one of the best closing lines of the last 20 years. (As long as you’ve heard the set-up, that is, which happens about 15 minutes earlier.) Apparent closure to a story of intense conflict by suggesting a capitulation, and then pulling back. With a laugh. Perfect.

Not a huge surprise, but Sydney Pollack, Steven Soderbergh and Anthony Minghella were three good Godfathers on Michael Clayton, according to director-writer Tony Gilroy. “The advice all the way through the preproduction process is all ambassadorial and diplomatic: ‘Can you call this person for me?’ and ‘Have you ever worked with this costume designer before?’ and ‘I didn’t rehearse the film..is that a good idea?’ It’s all that kind of process stuff. To all of their credit, they gave to me what they would all want [as directors]. They gave me absolute autonomy. They gave me final cut. They protected me. They kept everything bad away from me. They created for me, on a small scale, the situation they all would want to have.”

I’ve been hanging onto the idea of Barack Obama reviving his candidacy by beating Hillary Clinton in the Iowa caucus. Now comes a Des Moines Register poll showing Clinton at 29%, John Edwards at 23% and Obama at 22%. The Iowa caucus isn’t until mid-January — three and a half months hence — and things could change, of course, but this is awful news.

Those Heartbreak Kid numbers have gotten slightly worse. The Farrelly Brothers/Ben Stiller film did about $4,585,000 Friday and was projected yesterday to end up Sunday night with $14,434,000, which was less than the $15 to $16 million that was projected midday Friday and over $5 million less than the $20 million that handicappers were expecting a day or two earlier. This morning’s weekend projection, based on yesterday’s ticket sales, is a limp $13,756,000.

Jonah Weiner‘s 9.27 Slate piece about what he believes to be unconscious racism on Wes Anderson‘s part (“Unbearable Whiteness”) is interesting reading, but what I liked the most was reading a line from Bottle Rocket — spoken by Luke Wilson‘s Anthony — that I’d forgotten.

“Anthony’s last girlfriend sent him into a psychological tailspin, we learn, when she made a bourgeois proposal,” Weiner explains. “Over at Elizabeth’s beach house,” Anthony says, “she asked me if I’d rather go water-skiing or lay out. And I realized that not only did I not want to answer that question but I never wanted to answer another water-sports question, or see any of these people again for the rest of my life.”

If you come from a well-tended family and you don’t have some kind of thought like this sometime in your teens or your 20s, you have no soul. Of course, sooner or later you grow out of this, and then down the road you start working your tail off — sometimes successfully and sometimes not — so you can make enough money to afford to be with people who ask each other on weekends if they’d like to water-ski or lay out. Not that you want to hang with them, but you want to be able to afford access to their realm.

This is one of the meanest, most heartless pieces of analytical celebrity journalism I’ve ever read. I’ve never written anything this insensitive or pointless. You don’t pack it in if things aren’t working out. Maybe if you’re struggling or uncertain but not after you’ve already made it. What you do in a jam is redefine, rethink, reinvent. Quitting is completely out of the question. Anyone who suggests this is some kind of fiend.

The most important thing in Dennis Lim‘s 10.7 N.Y. Times article about two Joy Division movies that the Weinstein Co. is distributing — Anton Corbijn‘s Control, a feature film, and Grant Gee‘s Joy Division, a documentary — is a line that sums up Corbijn’s film very neatly. It says that Control “largely resists the temptation to assign blame or explanations.”

To me, that’s the all of it. In a very stark and disciplined way, Control is a “this happens, and then this happens” telling of a true-life story that does more than just relate events. Corbijn’s stripped-down, no-dramatic-emphasis approach (along with the film’s exquisite widescreen black-and-white photography) lends a certain bleak distinction, and this is what stays with you days and weeks after.