Monday (12.27) update (NY Post via Deadline):

Last night (12.26):

Eight years ago Dallas Buyer’s Club, directed by the 50-year-old Jean-Marc Vallée, was one of the most talked-about Oscar contenders. In early ‘14 costars Matthew McConaughey and Jared Leto won Oscars for their performances, and Vallée was suddenly a hotshot, prestige-level helmer.

Then he directed Wild (‘14), a Reese Witherspoon long-hike survivalist drama. Next came two HBO projects, Big Little Lies, which Vallée directed two episodes of while exec producing, and Sharp Objects, for which Vallée won an Emmy for direction.

Now comes a report that Vallée, 58, has been found dead in a cabin outside Quebec City. Regrets and condolences. Quite a shock.

When I was 22 or thereabouts I fell into a hot affair of the soul with a tall, quite slender 20 year-old brunette, at the time a junior at Boston University. She was a little bit taller than I (which was cool), and might have been the greatest hugger I’ve ever known. But going out with a woman nearly a full head taller…I don’t know, man.

…for popularizing the term “friendo” in No Country for Old Man. (Cormac McCarthy or the Coen brothers wrote it, of course, but Javier brought it home.) Favorite Bardem performances, in this order: Vicky Cristina Barcelona, No Country, Before Night Falls, The Counselor, The Dancer Upstairs, Biutiful, The Sea Inside, Skyfall, Being The Ricardos. One of the very few name-brand actors to stand by Woody Allen when spears and missiles were raining down, and to throw shade upon the fanatics. One night on the Cote d’Azur beach in ’07 or ’08 I bummed a Marlboro light from Javier, and as we parted company a few minutes later he gave me another — one to grow on, so to speak.

…are almost certainly going to get killed in next year’s midterm elections. We’re all summing up 2021 in our heads and making lists about the highlights and misfortunes, etc. And the coming destruction of what’s left of a sensible liberal agenda…a destruction authored entirely by wokester identity-politics zealots…is pointed out chapter and verse in these six “New Rules” riffs, which I watched between 5 am and 6 am this morning.

There are many things I despise about the here-and-now in a social-political sense, but the “J’Accuse!” chorus of condemnation on Twitter has been near the top of my list for a good four years now. And right behind this (i.e., almost as bad) are the HE commenters who keep saying “man, you’ve lost control of yourself” and “is woke terror an obsession?” and so on.

The content in these six Bill Maher essays is 100% real, and the left isn’t modifying or toning down the rhetoric or the insanity. It’s getting worse by the cycle. They won’t listen.

The defeat of Virginia’s Terry McAuliffe was but an appetizer. Main course on its way.

We’ve all heard the famous story about Tallulah Bankhead flashing hairpie during the making of Alfred Hitchcock‘s Lifeboat (’44), and Hitch’s reply when told that some guys on the crew had complained and that he needed to ask Bankhead to show a little modesty. “Not my job,” Hitch allegedly replied. “This could be a situation for wardrobe, or it could be a makeup issue or perhaps even one for hairdressing.”

For me this story never quite lands because no sane or rational-minded Hollywood crew person (sound-stage professionals were entirely male in those days) would ever complain about being flashed. Who would be anti-social or arrogant or priggish enough to complain about such a thing? Ludicrous.

Another version of the incident (offered by Steve Hayes) was that the complaint came from a woman affiliated with the Catholic Legion of Decency who was visiting the set. But since when did such a person have anything to say about behavior or work practices during the shooting of a film? The Catholic Legion of Decency was about judging the moral nature of films awaiting theatrical release…right?

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A month ago Licorice Pizza‘s Paul Thomas Anderson told N.Y. Times Hollywood columnist Kyle Buchanan (aka “The Projectionist”) that he doesn’t believe in presentism, or the current industry-wide aesthetic that requires all films set in the past to reflect 2021 values and culture, especially concerning racial matters.

Anderson to Buchanan: “I think it would be a mistake to tell a period film through the eyes of 2021. You can’t have a crystal ball…you have to be honest to that time.”

And of course, he and the film have taken hits from wokester fanatics about “casual racism” blah blah, etc.

How many other name-brand directors would even consider saying “you have to be honest to the time period in question, which means not necessarily integrating your film with current wokester sensibilities”? Answer: Very few — Martin Scorsese, Paul Schrader, Roman Polanski, Oliver Stone and you tell me how many others**.

Over the last four or five years the vast majority of helmers (The Tender Bar‘s George Clooney, The Green Knight‘s David Lowery and Cyrano‘s Joe Wright are three recent examples) have become fools for presentism, if for no other reason than to simply keep out of control.

99% of film critics and essayists won’t even mention presentism. Jordan Ruimy: “Except for Armond White and damn few others, today’s film critics would never dare tackle woke casting in any review they write. It’s blatantly obvious in many movies today, but it’s an unwritten rule to never talk about it.”

I’ve said this 67 times so far, and here comes the sixty-eighth: Intimate relationships between older persons and teenagers are totally verboten, of course. The law is the law. But the in-and-out romantic current between Licorize Pizza‘s Alana Haim and Connor Hoffman, which never involves any kind of sexual activity, is totally fine.

I was once 15, and if a 20something girl I’d been daydreaming about had winked at me and left the door ajar for some possible forthcoming action down the road…are you kidding? That would have been wondrous, glorious, etc. Older males who say or do the wrong thing in the presence of a minor deserve everything that comes from that…different rule book. But a 20something Valley girl and a precocious dude in his mid teens? Fine…don’t sweat it.

** Joel Coen was a non-believer in presentism until he made The Tragedy of Macbeth. The idea, of course, was to not have Denzel Washington be the only Scotsman of color (SOC) in the film.

…but a 77% RT approval is certainly more than a passing grade. The IMDB crowd gives it an 8.3. The only resounding thumbs-down reactions are from Metacritic users — 5.6.

Despite the fact that the parallels between Don’t Look Up and Dr. Strangelove are vague at best. The Strangelove-ian tribute poster is from Ireland’s Snollygoster Productions.

For years this photo, taken somewhere in central London during a June 2013 press junket for Edgar Wright‘s The World’s End, has tickled my brain. I can’t get it out of my head. There’s something about the communal gaiety of these obedient Wright fanboys, ecstatic and euphoric about hanging with their hero + their place on the promotional gravy-train express…I keep coming back to it.

If only I’d managed to become (or at least simulate being) a Wright worshipper, I too might have been part of one of the most iconic (and odious?) Hollywood fraternity photos of the 20teens….if only I hadn’t triple-hated Scott Pilgrim vs. The World…if only Baby Driver (three-quarters of which I genuinely liked) had come out before The World’s End…a lot of variables.

Who am I kidding? I’ve never felt much of an aesthetic kinship with the fellows in this photo…well, now and then & here and there as it might be, depending on the film, but they’re basically genre & fantasy geeks and fools for Wright and I’ll never be either…and even if I’d been there I probably would have avoided posing for this shot, not being a drinker and all.

Wright might some day make another film that works as well as Baby Driver…maybe. Last Night in Soho sure as hell missed the mark in more ways than one, and so he’s “down” right now. But he’ll be back on his feet before long.

(l. to. r) Hitfix’s Drew McWeeny, Todd Brown of Twitch, Edgar Wright of A Fistful of Fingers, Harry Knowles of Ain’t It Cool News, Jordan Hoffman of Screencrush, Devin Faraci of Badass Digest, Germain Lussier of Slashfilm, Alex Billington of First Showing, Eric Vespe of Ain’t It Cool News, Silas Lesnick of Coming Soon and Steve “Frosty” Weintraub of Collider.

Generally speaking the disparity between critic and audience scores on Rotten Tomatoes, Metacritic and IMDB is fairly consistent. More of than not it’s (a) critics are fine with a film but the audience isn’t or (b) vice versa.

How then to explain the different audience scores for Kenneth Branagh‘s Belfast? 91 on Rotten Tomatoes, 7.4 on IMDB, and 63 on Metacritic — a 28-point spread between Metacritic and RT!

Jordan Ruimy: “The readership for Metacritic tends to be a little more highbrow than Rotten Tomatoes.” More than a little, I’d say, when it comes to Belfast.

Critics mean nothing these days. 90% are woke sheep, herd mentality whores. Audience scores are what finally count in the end.