Last Thursday I wearily predicted that yet another round of Amy Schumer-related bashing would kick in with the approach of last Sunday’s SXSW “work in progress” screening of Trainwreck. Limited apologies, re-phrasings and walking it back to some extent haven’t mattered to dodo bird journos like Indiewire‘s Ryan Lattanzio or, it appears, to Schumer herself. She got into the groove of playing the victim who won’t let sticks and stones, etc. As I reminded last week these attacks have been going on for over a month now. The hyperbolic haters won’t quit.
I’ve spoken with several name-brand comedians in my time, and I’ve never felt the slightest trace of silly, goofy, slap-happy vibes from any of them. From each and every one I detected caution, guardedness and a general sense of gloom. (Especially from Billy Crystal.) One would presume, therefore, that Kevin Pollak’s Misery Loves Comedy, a doc about what comedians are really like deep down and whether they’re all in fact depressives, might be…well, at least somewhat interesting in this regard. Unusual. Revelatory. Not the usual joking around but perhaps some musings and reflections that, say, the ghost of Fyodor Dostoyevsky might relate to.
I would have been off that bridge faster than any four-legged animal. Okay, if there had been preparation and rehearsal I might have helped to throw the bed over the side, but quickly. It would have been clearly understood that if and when a train comes along and there’s any question about personal safety, the bed is toast. Incidentally: It was needlessly exploitive and hurtful of The Hollywood Reporter to have published autopsy results of what happened to poor Sarah Jones when she was hit by the death train, and now they’ve deleted the grisly portion of the story.
Last skeletal remnants of “Benedict mansion” in Marfa, Texas. Set was built in 1955 for filming of George Stevens’ Giant.
Amy Schumer is saying “I’m a party girl, maybe a drunk…don’t stop me now, I have another gulp or two to get down!” and Bill Hader is saying…what exactly? “Oh…Amy’s a reckless bundle of alcoholic fuckall energy and here I am popping my eyes and going ‘oh!'”
A work-in-progress version of Judd Apatow‘s Trainwreck (Universal, 7.17) will screen at South by Southwest late Sunday afternoon. And if a tweet posted this morning by The Hollywood Reporter‘s Seth Abramovitch is any indication, spiritually deep people with wonderfully wise and enlightened perceptions are going to lob hate grenades in my direction all over again. The “leave poor Amy Schumer alone and die, you rancid asshole” thing has been going on for 30 days now — an eternity in today’s ADD realm. I tried saying I’m sorry for the piece that posted on 2.11 but the haters wouldn’t have it. I said Schumer is obviously a first-class talent who deserves more respect than what I gave her, and the haters said “oh, yeah? Well, you’re demonic and fuck you!” I wrote that I could have played this one with a little more delicacy and diplomacy, and I might as well have poured kerosene on the fire.
For the third time I’m re-compiling HE’s Best of 2015 rundown, most of which will be permanently posted in the Oscar Balloon box right after the Oscars conclude on Sunday night. By my calculations there are at least 20 films opening within the next 10 and 1/2 months that look highly nutritional and aspirational, and there are surely a few others I’m not seeing on the radar. Of the Hot 20, I’m guessing that the likeliest Best Picture contenders of 2015, if “serious” subjects and intentions are any kind of yardstick, will be the following ten:
Danny Boyle and Scott Rudin‘s Steve Jobs, Martin Scorsese‘s Silence (unless it opens in ’16), James Vanderbilt‘s Truth, Oliver Stone‘s Snowden, Steven Spielberg‘s St. James Place, Alejandro G. Inarritu‘s The Revenant, Jean Marc Vallee‘s Demolition, Jodie Foster‘s Money Monster, Warren Beatty‘s Hughes (unless Beatty decides to embrace Terrence Malick‘s approach to editing) and Robert Zemeckis‘ The Walk.
I’v also listed another 23 films that look half-formidable or semi-promising at the very least. 23 + 20 = a grand total of 43 interesting, real-deal, adult-angled films opening between now and 12.31.15. Even if 25% crap out we’ll still be left with around 30 high-grade entertainments. Even if 50% of them fall through the floor the must-see count will be around 20. Any way you slice it 2015 is looking way above average.
For what it’s worth I’m sorry for the Amy Schumer sturm und drang of the last couple of days. She’s a first-class talent and deserves more respect than what I gave her. I know I’m not thinking wrong but I’m probably saying it wrong from time to time. ”It’s hard to grow up…it doesn’t stop when you’re 40…a hard row to hoe.” These words were shared a few nights ago by Ethan Hawke during a Charlie Rose interview, and they got to me. So I’m sorry, truly, for not dealing my cards with a little more compassion and gentility. I wasn’t incorrect in saying that social attractiveness standards have changed over the past decade or so, largely due to the creations of one Judd Apatow and those who’ve climbed aboard his ferry boat. But I could have put it a bit more delicately and diplomatically. Then again that’s not what the HE brand is about, is it?
It’s in my Hollywood Elsewhere nature or karma to get beaten up once or twice each year by the moshpit beasts of the Twitterverse. Long is the road and hard that out of darkness leads up to light — that John Milton quote has my name on it. Sobriety (my third anniversary is a month away) has bestowed a sense of peace and even serenity at times, and it has toned down or modified the ever-present anger in the belly. Which I’m not at all sorry about as anger has been the eternal fuel of my writing career, born of an alcoholic father, a bordering-on-evil public school system and the awful repression of a whitebread, middle-class suburban upbringing that I wouldn’t wish upon my worst enemy. Add to this a growing notion that I’ve learned a thing or two plus my natural inclination to shoot my mouth off first and think about it later, and wham…every now and then I poke a hornet’s nest or step on a landmine and the raptors parachute down upon Maple Street.
Standards of hotness change over time. I’ve said more than a few times (most recently in an HE piece posted on 8.15.14) that sexual attractiveness standards have definitely evolved in favor of the notties over the last…oh, 10 or 12 years. We’re now living in an age, partly if not largely perpetrated by the films and scenarios of producer-director Judd Apatow, in which Schlumpies and Dumpies have been sold to the public as the kind of people you want to go out with, go home with, get married to, etc.
When I was in my 20s and carousing around Schlumpies and Dumpies got no action whatsoever. They stayed home, watched TV, wept in their beds, jerked off, etc. But today they make out. If a bearded guy in an Apatow movie has bigger breasts than Cameron Diaz and a dumpy milky-white body with eight or nine pimples on his fat white ass…cool! If a lead actress looks like one of the Andrews Sisters but with somewhat wider or heavier facial features…crazy mama!
I grew up in a world in which conventionally attractive or semi-attractive people used to be the ones who got laid the most often. Trust me — I used to do quite well at the Westport Players Tavern in the mid to late ’70s, and I had a good sense of what worked and what didn’t. And if a girl who looked like Trainwreck‘s Amy Schumer was to stroll into that scene, she would have had a nice time but she would not be ardently pursued by the flannel-shirt-wearing wolves, of which I was definitely one. By the standards of that time she just isn’t top-of-the-line…sorry.
But that was then and this is now, and today I was beaten and spat upon and kicked to the ground and damn near lynched for having stated what seems obvious to me, which is that Schumer is brilliant, talented and somewhat funny but she’s not grade-A or even B-plus material, certainly by my standards as well as those of any moderately attractive, fair-minded youngish heterosexual dude who’s feeling hormonal or what-have-you.
With Trainwreck (Universal, 7.17), director Judd Apatow is once again introducing a chubby-cheeked, whipsmart, not conventionally attractive, neurotically bothered female comic to a mass audience — first Melissa McCarthy in Bridesmaids (’11), then Lena Dunham in HBO’s Girls (’12) and now Amy Schumer, the star and writer of Trainwreck as well as the star of Comedy Central’s Inside Amy Schumer. She’s obviously sharp and clever and funny as far as the woe-is-me, self-deprecating thing goes, but there’s no way she’d be an object of heated romantic interest in the real world. And yet that’s the apparent premise of Apatow’s film. Schumer’s wide facial features reminded me of a blonde Lou Costello around the time of Buck Privates, or Jennifer Aniston‘s somewhat heavier, not-as-lucky sister who watches a lot of TV. Don’t look at me — I’m not the one who made her the star of a film about a plucky, free-spirited girl that a lot of guys want to bang. You know who would be better in a film like this? An actress who’s nicely attractive, has the funnies and the soulful stuff besides? Jenny Slate.
12.29, 9 am Pacific Update: On 12.22 I posted a rundown of 2015 films that seem fairly promising. A few other films were posted by commenters over the next day or so. Here’s another rundown with an attempt to break them into unfair categories but…call it a work in progress, like anything else. We’re talking at least 17 films that look really good, and about 15 that seem at least moderately intriguing and might be better than that. In all likelihood, the 2015 Best Picture winner is among the top 17. Top contenders: Steve Jobs, Silence, St. James Place, Hughes, The Revenant, Truth, Our Brand Is Crisis, Money Monster, Demolition.
X-Factor “Extra”, Semi-Fresh, Social Undercurrent…Something More (17):
Steve Jobs (Universal — shooting begins filming next month or January 2015, which indicates an intention to bring it out by late ’15) — Danny Boyle (director), Aaron Sorkin (screenplay), Scott Rudin (producer); Cast: Michael Fassbender, Seth Rogen, Michael Stuhlbarg, Katherine Waterston.
The Revenant (20th Century Fox) — Alejandro González Inarritu (director/screenplay); Mark “nobody can remember my middle initial” Smith (screenplay); Leonardo DiCaprio, Tom Hardy, Will Poulter, Domhnall Gleeson.
Money Monster (TriStar/Sony — apparently shooting in early ’15) — Jodie Foster (director); Jamie Linden, Alan DiFiore, Jim Kouf (screenplay). Cast: George Clooney, Jack O’Connell, Julia Roberts. Question: Same as Silence, will it shoot early enough?, etc.
Hughes (no distributor) — Warren Beatty (director, writer); Warren Beatty, Alden Ehrenreich, Lily Collins, Matthew Broderick, Annette Bening, Alec Baldwin, Martin Sheen, Taissa Farmiga, Chace Crawford, Candice Bergen.
Truth (no distributor) — James Vanderbilt (director, writer — based on the 2005 memoir “Truth and Duty” by Mary Mapes); Cast: Robert Redford, Cate Blanchett, Elisabeth Moss, Topher Grace, Dennis Quaid, Bruce Greenwood.
Our Brand Is Crisis (Warner Bros.); David Gordon Green (director); Peter Straughan (screenplay); Sandra Bullock, Scoot McNairy, Billy Bob Thornton, Anthony Mackie, Ann Dowd.
Everest (Universal) — Baltasar Kormákur (director); Justin Isbell, William Nicholson (screenplay); Jake Gyllenhaal, Josh Brolin, Jason Clarke, John Hawkes, Sam Worthington, Keira Knightley, Robin Wright.
Demolition (Fox Searchlight) — Jean-Marc Vallee (director); Bryan Sipe (screenplay); Jake Gyllenhaal, Naomi Watts, Chris Cooper.
Black Mass (Warner Bros.) — Scott Cooper (director/screenplay); Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Sienna Miller, Dakota Johnson.
Hail Caesar (Universal — listed as a February 2016 release but if the film turns out to be half as good as the crackling script, it’ll be criminal to relegate it to a dump month); Joel and Ethan Coen (directors, screenplay); Josh Brolin, George Clooney, Channing Tatum, Tilda Swinton, Ralph Fiennes, Jonah Hill.
St. James Place (Touchstone / DreamWorks / 20th Century Fox) — Steven Spielberg (director); Matt Charman, Ethan Coen, Joel Coen (screenplay); Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda, Billy Magnussen, Eve Hewson.
Life (no distributor) — Anton Corbijn (director); Luke Davies (screenplay); Robert Pattinson, Dane DeHaan, Ben Kingsley, Joel Edgerton.
The Walk (TriStar / ImageMovers) — Robert Zemeckis (director/screenplay); Christopher Browne (screenplay); Joseph Gordon-Levitt, Ben Kingsley, James Badge Dale, Charlotte Le Bon.
Carol (Weinstein Co.) — Todd Haynes (director); Pyllis Nagy (screenplay, based on Patricia Highsmith novel); Cate Blanchett, Rooney Mara, Sarah Paulson, Kyle Chandler.
By The Sea (Universal) — Angelina Jolie (director, screenwriter). Cast: Angelina Jolie, Brad Pitt, Niels Arestrup, Mélanie Laurent.
Sea of Trees (no distributor) — Gus Van Sant (director); Chris Sparling (screenplay); Matthew McConaughey, Ken Watanabe, Naomi Watts, Katie Aselton, Jordan Gavaris.
Knight of Cups (no distributor) — Terrence Malick (director); Hanan Townshend screenplay); Christian Bale, Cate Blanchett, Natalie Portman, Brian Dennehy, Antonio Banderas, Freida Pinto, Wes Bentley, Isabel Lucas, Teresa Palmer.
May Not Be Released in 2015:
Silence (Paramount) — Martin Scorsese (director); Jay Cocks (screenplay); Liam Neeson, Andrew Garfield, Issei Ogata, Adam Driver, Ken Watanabe.
Intriguingly Commercial (14):
Tomorrowland (Disney) — Brad Bird (director, cowriter); Damon Lindelof (co-writer); George Clooney, Britt Robertson, Hugh Laurie, Raffey Cassidy, Thomas Robinson, Kathryn Hahn, Tim McGraw, Keegan-Michael Key, Judy Greer.
The Hateful Eight (Weinstein Co.) — Quentin Tarantino (director-writer); Samuel L. Jackson, Bruce Dern, Jennifer Jason Leigh, Walton Goggins, Tim Roth, Michael Madsen, Demián Bichir, Kurt Russell.
Ricki and the Flash (TriStar) — Jonathan Demme (director); Diablo Cody (screenplay); Meryl Streep, Mamie Gummer, Kevin Kline, Sebastian Stan, Rick Springfield, Ben Platt.
Midnight Special (Warner Bros.) — Jeff Nichols (director/screenplay); Cast: Michael Shannon, Kirsten Dunst, Adam Driver, Joel Edgerton.
The Last Face (distributor) — Sean Penn (director); Erin Dignam (screenplay); Charlize Theron, Javier Bardem, Adèle Exarchopoulos.
Every December I take a look at the coming film-release year and get a little bummed. Which is more or less how I feel right now. This Wiki forecast of 2015 represents only about 50% or 60% of the likely stand-outs if that, but I’m feeling deflated all the same. Too many programmers, I’m thinking — i.e., somewhat predictable, concept-driven, ho-hummy, not a lot to quicken the pulse. A healthy percentage of the stuff that will really turn the key, of course, will be on cable. This is the world, the way it is…and that’s fine. House of Cards, the Mad Men finale, etc.
Right off the top the only theatrical film that looks like it might be a major X-factor knockdown is Alejandro G. Inarritu‘s The Revenant, a revenge-survival drama which 20th Century Fox will open 11 or 12 months from now.
I realize, of course, that many, many unforeseen comers will pop out of Sundance, Berlin, Cannes and the September-October festivals (Telluride, Venice, Toronto, New York), but right now I’m looking to add titles to the list that may turn out to be cultivated, dynamic, extra-dimensional, “original”, arty-farty, awards-baity…anything along those lines.
Right now the only 2015 films that seem remotely boat-floaty are the following, and a significant portion of these seem at first glance more like plot-driven attractions or diversions than what most of us would call fresh approach social undercurrent perk-up flicks…but what do I know? My interest levels are roughly reflected by the order in which they appear. The first seven or eight for sure, but after that….
The Revenant (20th Century Fox) — Alejandro González Inarritu (director/screenplay); Mark E Smith (screenplay); Leonardo DiCaprio, Tom Hardy, Will Poulter, Domhnall Gleeson.
Everest (Universal) — Baltasar Kormákur (director); Justin Isbell, William Nicholson (screenplay); Jake Gyllenhaal, Josh Brolin, Jason Clarke, John Hawkes, Sam Worthington, Keira Knightley, Robin Wright.
Black Mass (Warner Bros.) — Scott Cooper (director/screenplay); Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Sienna Miller, Dakota Johnson.
With Bernie Sanders finally acknowledging what has been patently obvious since Super Tuesday, which was that he had no chance to win the Democratic nomination, “just under 20%” of the Democratic base (including the deeply despised Berniebros) is now free to do whatever. Some will bitterly or half-heartedly vote for Biden in the fall, some will become Trump supporters, some will attempt to spark a third-party movement.
For a very brief period, just after New Hampshire and Nevada and prior to Super Tuesday, victory for the Sanders campaign seemed inevitable. But that phase quickly ended when the Democratic establishment strongly urged (i.e., ordered) Pete Buttigieg and Amy Klobuchar to suspend their campaigns. And then Elizabeth Warren bailed in early March.
All along Sanders’ vision and platform have always been the most correct and courageous, but he never had the numbers to defeat Trump.
The passion of the Sanders flock has always been two-pronged — mostly defeating the Democratic center-left establishment and secondarily (and a distant second at that) evicting Donald Trump from the White House. They’re now free to pour all kinds of insurrectionist bile into the social gumbo. For the next few months they will take shot after shot at decent, well-meaning Uncle Joe, who will only serve a single term (everyone understands this) while paving the way for Gavin Newsom or Andrew Cuomo in ’24.
From “Bernie Sanders Only Has Eyes for One Wing of the Democratic Party,” a 4.8.20 N.Y. Times piece by Thomas B. Edsall:
“Earlier this month, Shom Mazumder, a political scientist at Harvard, published a study, ‘Why The Progressive Left Fits So Uncomfortably Within The Democratic Party,’ that analyzed data from a 2019 survey of 2,900 likely Democratic primary voters.
“‘I saw two clear poles emerge within the Democratic Party,’ he writes. “The ‘establishment’ and the ‘progressive left.’ A third group also emerged, and while it’s not as clearly defined as the other two, it has some overlap with the establishment and tends to be more fond of Wall Street, so I’m calling that ‘neoliberals.’
“’Establishment’ voters, in this scheme, means center-left voters who make up just over 60 percent of the total. They stood out as favorably inclined to Nancy Pelosi, Chuck Schumer, Barack Obama and the Democratic National Committee — in other words, to the Democratic establishment.
“’Progressive left’ Democrats, at just under 20 percent, were most favorable to labor unions, Black Lives Matter, the #MeToo movement, Alexandria Ocasio-Cortez and the Democratic Socialists of America. These Democrats viewed business interests — as exemplified by Wall Street — negatively, and they weren’t happy about Joe Manchin, the centrist senator from West Virginia, either.”
I’ve posted the following in the Guardian comment section following Andrew Pulver’s article: “This was over four lousy words on Twitter. FOUR WORDS! Sloppy of me, granted, but I posted a mea culpa yesterday, or a few hours after this blew up: ‘Agreed — I shouldn’t have said that. ‘Forget women seeing this’ is a gross simplification. I’m down on my knees and whining like a little piglet. If I had given the matter 15 or 20 seconds worth of thought I would have rephrased and qualified in some way. I’m not stupid, and I know that generalizations always get you into trouble.”
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