So that’s all she wrote for Ridley Scott’s The Last Duel — seen, considered and more or less dismissed as a sullen “damp mullet” melodrama by the Venice Film Festival critical watchdogs. What turned me off in West Hollywood is Dariusz Wolski’s affected bluish-gray color scheme. I’m a huge fan of Frank Tidy’s natural toned, Barry Lyndon-ish cinematography in Scott’s The Duellists (‘77); it would have been heavenly to return to that palette in Duel…but nope.

Having premiered a week ago at the Venice Film Festival, Edgar Wright‘s Last Night in Soho (Universal, 10.29) screened last night at the Toronto Film Festival. A cool and sexy time-trip ride during the first hour (visually mesmerizing, transporting ’60s pop tunes), but then it devolves into horror…WHAT ELSE?

Welcome once again to the realm of Edgar Wright, a gifted director with a geek maestro sensibility that always gets the better of him.

World of Reel‘s Jordan Ruimy: “It’s a very silly movie. Wright’s strongest work is still Baby Driver if you subtract the last 20 minutes, when it goes off the rails.”

HE: “Agree about Baby Driver. I know that I’ll never, EVER trust Jason Gorber’s opinion about any Wright film.”

JR: “Soho has a strong first hour. First half is pure pleasure. An amazing swinging ‘60s soundtrack. You live and breathe the setting. But then it devolves into infantilism.”

HE: “Thank God — you’ve made my day feel right.”

JR: “Wright’s obsession with genre cinema, particularly giallo stuff, becomes a bit too much.”

HE: “I could tell that from the trailer.”

JR: “He’s such a gifted visualist but can’t seem to let go of his obsession for more, more, MORE.”

HE: “Yup — no discipline.”

JR: “The twist is idiotic. Wright goes for wokeness. More or less a #MeToo horror revenge film. It’s a mess.”

Excerpt of 9.4.21 Venice Film Festival review by Variety‘s Guy Lodge: “Wright’s murky, middling blend of horror and time-traveling fantasy briefly makes the heart quicken. Otherwise, Last Night in Soho is a surprising misfire, all the more disappointing for being made with such palpable care and conviction.

Last night a guy named Jack Yonover (@jyonnie18) raved about a projected 35mm trailer for Paul Thomas Anderson’s Licorice Pizza (seen in what theatre?). He was impressed by the “texture and feel of the ‘70s.”. Which was what Inherent Vice looked and felt like (simulations of dirt, scratches, reel-change marks) and nobody was particularly mesmerized. It was just “okay, PTA is conveying that celluloid ‘70s vibe”…whatever.

Another guy, Andrew Bundy (@andrewjohnbundy), saw the same trailer and was impressed by Sean Penn‘s excited portrayal of a ‘70s Nazi (in Los Angeles?) and Bradley Cooper kneeling between red and blue muscle cars while holding hammers in a way that reminded Bundy of PTA’s Punch Drunk Love.

In short Yonover and Bundy were taken with the mood, visual stylings and atmospheric minutiae of the trailer. Which suggests that the trailer cutters may have decided against conveying a hint of a basic story. Which suggests…

Jose Ferrer made it clear that he regarded his brief performance in Lawrence of Arabia as his best-ever screen work. Quote: “If I was to be judged by any one film performance, it would be my five minutes in Lawrence.” I can’t think of any other non-comedic, cameo-level performance as good as Ferrer’s — can anyone?

Sean Connery‘s cameo as King Richard the Lionheart at the end of Robin Hood: Prince of Thieves wasn’t on Ferrer’s level. Connery was showboating, taking a bow.

Comedically speaking, Tom Cruise‘s Les Grossman in Tropic Thunder and Bill Murray‘s walk-on performance as a pretend zombie in Zombieland are obvious stand-outs. But it’s easy to be amusing in a quickie context.

Earlier today I mentioned the disastrous casting of 27 year-old Ben Platt as a sensitive high-school guy in Dear Evan Hansen — too old. In the comment thread “brenkilco” complained that Robert DeNiro and Joe Pesci seemed too old to be playing their Goodfellas characters when young — not a problem, they passed muster. On the other hand James Stewart as Ransom Stoddard in The Man Who Shot Liberty Valance and as Charles Lindbergh in The Spirit of St. Louis — definitely too old.

Anyway I decided to switch sides and try to recall actors who either (a) seemed too young for their roles or (b) more or less fit them even though they were actually younger that they appeared.

So far I can only come up with two actresses and no actors. 36 year-old Angela Lansbury as the 33-year-old Laurence Harvey‘s mother in The Manchurian Candidate (’62). And 31 year-old Rosemary DeCamp playing 42 year-old James Cagney‘s mom in Yankee Doodle Dandy.

It’s been said that Jessie Royce Landis‘s performance as the mother of Cary Grant‘s Roger Thornhill in North by Northwest doesn’t work because they were born only eight years part (Landis in 1896, Grant in 1904). But it does work. Grant was 54 when NXNW was shot but looked 45 or 46 while the 62 year-old Landis appeared a bit older. So it worked if you imagined that Landis was an under-aged mom (17 years old, say) when Roger came along.

This 104-second passage is, I feel, the greatest ending of a feature-length documentary ever assembled. Particularlv between the 1:00 and 1:25 marks. Neil Young‘s “Keep On Rockin’ In the Free World” never sounded so glorious as it did in this instance. Fahrenheit 9/11 opened in Cannes on 5.17.04 and won the Palme d’Or, opened theatrically on 6.25.04, earned $222.4 million domestic, and George Bush was re-elected.

As we speak Ridley Scott‘s The Last Duel (20th Century Studios, 10.15) has a failing (60%) grade on both Rotten Tomatoes and Metacritic. Plus Hollywood Reporter critic David Rooney has called it “an uneven Middle Ages #MeToo epic.” And Variety‘s Owen Gleiberman has described it as “sort of medieval, anachronistic, and more than a bit concocted.”

From Gleiberman’s 9.10 Variety review: “The plot turns on an act of sexual assault, and in the second segment the movie flirts, however briefly, with treating that act the way that Kurosawa’s Rashomon did: with supreme ambiguity.

“But that would be a dicey thing to do in our era, so the film backs off from any ambiguity. Morally, that leaves it in good standing. But dramatically, it leaves it sort of just sitting there.

“We get de Carrouges’ [i.e., Matt Damon‘s] version of the events. Then we get Le Gris’ [Adam Driver‘s], which is just different enough to tease us. Then we get Marguerite’s [i.e., Jodie Comer], which matches up entirely with de Carougges’. By then you feel the wind going out of the movie’s sails.

“There are entertaining bits throughout. Ben Affleck plays the count as a supercilious, foul-mouthed libertine who likes to bed four women at once, and you feel how much fun the actor is having playing someone this piggish in his arrogance. Jodie Comer makes her mark, holding the screen with a calm fire. And though it’s occasionally hard to distinguish the intentional from the unintentional awkwardness in Damon’s performance, it’s amusing to see him stray so willfully out of his comfort zone.”

When Damon was co-writing and then acting in The Last Duel, he probably wasn’t anticipating that a Variety critic would describe his performance as partly “amusing.”

Gleiberman: “The climactic duel, a re-enactment of the last one ever sanctioned in France, is certainly a slash-to-the-death rouser in that Gladiator-in-chain-mail way.”

Even among those who didn’t care for Pablo Larrain‘s Spencer (like myself) there’s a fairly broad consensus that Kristen Stewart‘s performance as Diana, the tormented Princess of Wales, will probably snag a Best Actress nomination.

And yet a post-TIFF-screening tweet by senior CBC entertainment reporter Eli Glasner avoids praising the film (he merely describes what Spencer is like) and says that Sally Hawkins‘ performance as a royal maid whose big dramatic moment arrives when she quietly announces her sapphic love for Diana…Glasner ignores Stewart’s acting and tweets “Hawkins for the win.” What does that tell you?

Born on 9.24.93, Benjamin Platt was 23 when he played the titular role (a high-school senior, aged 17 or thereabouts) in the Broadway version of Dear Evan Hansen, which opened in December 2016.

But his playing of the same lead role in Stephen Chbosky‘s Dear Evan Hansen, which was shot in late 2020, happened when Platt was turning 27, and by that point he was just too damn adult-looking. And in the wake of last night’s disastrous Toronto Film Festival screening nobody is buying it. Platt and Chbosky have been all but tarred and feathered for this titanic miscalculation of casting.

Nate Jones‘ Vulture review, titled “How Old Does Ben Platt Look in Dear Evan Hansen?“, is a withering dissection and a very pleasurable read.

Earlier this evening World of Reel‘s Jordan Ruimy walked out of the Toronto Film Festival’s opening-night film, Dear Evan Hansen. Quote: “It’s terrible.”