Saturday, November 16, 2024
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Clint Eastwood’s Top Notch “Juror #2” a Thrilling Possible Finale for 94 Year Old Legend

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Clint Eastwood may be 94 years young but he’s totally on his game directing “Juror #2 ,” his latest film and maybe his last. (Let’s hope not.)

Warner Bros should be encouraged to make a big deal of this taut courtroom thriller.

Eastwood makes the most of a strong cast including Nicholas Hoult, Toni Collette. Chris Messina, and Zoe Deutsch. They are one of the best ensembles I’ve seen this year.

This film has Eastwood’s signature all over it. It’s concise. There’s no fat but there is a simple looking story that is complex at its heart. Father to be Justin (Nick) is chosen as a juror on a hit and run trial. Once seated, he immediately realizes that he himself was the driver of the car that killed a young woman on a stormy night.

Chris Messina plays his earnest and loyal defense attorney. Toni Collette is note perfect as the crusading prosecutor. Deutsch is his very pregnant wife. In the jury room, JK Simmons (egregiously underused) joins Justin in trying to prove the innocence of the accused killer, the young woman’s boyfriend. When that doesn’t work out, the rest of the jury — recalling “12 Angry Men” — parse the killing and the matter of guilt.

Eastwood — working with Jonathan Abrams’ sometimes spotty script — does nothing flashy. He just tells the story. But he also dives into Justin’s head and ours. What would you do in this situation? Hoult is solid as a man who wrestles with his conscience, and takes us along for the ride.

Really, Warner Bros., release this movie properly. You’ve got something special here.

Gotham Awards: Pamela Anderson Gets First Ever Nomination for Anything Serious in “The Last Showgirl”

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Pamela Anderson will get the award this year for Most Changed and Improved Celebrity. She’s just been nominated by the Gotham Awards for Best Lead Performance, in “The Last Showgirl.”

I told you about this film from the Toronto Film Festival.

This is the same Pam Anderson who starred in “Baywatch,” was married to scuzz balls Tommy Lee and Kid Rock, made headlines with Julian Assange, and was also married for a minute to Jon Peters.

Anderson won three Razzie Awards in 1997 for her appearance in “Barb Wire.”

Now she gets respect for a star turn that will be her legacy. The Gotham Awards are the first movie and TV awards of the season, aimed at indie and smaller movies. Good for her! “The Last Showgirl” gets and Oscar qualifying run December 13th for a week, coming from Roadhouse Attractions. (Note to PA: Hire your own awards team!)

Since the Gothams are gender free, Pam will be competing with the likes of Mikey Madison in “Anora” and Adrien Brody in “The Brutalist.”

PS Strange: Gothams pretty much ignored “A Real Pain.” Makes no sense. Also, NOTHING for “Emilia Perez”? It won Cannes and all the actresses won a joint award there. Really weird.

Best Feature 

Anora

Sean Baker, director; Sean Baker, Alex Coco, Samantha Quan, producers (NEON)

Babygirl

Halina Reijn, director; David Hinojosa, Julia Oh, Halina Reijn, producers (A24)

Challengers

Luca Guadagnino, director; Luca Guadagnino, Rachel O’Connor, Amy Pascal, Zendaya, producers (Amazon MGM Studios)

A Different Man

Aaron Schimberg, director; Gabriel Mayers, Vanessa McDonnell, Christine Vachon, producers (A24)

Nickel Boys

RaMell Ross, director; Joslyn Barnes, Dede Gardner, Jeremy Kleiner, David Levine, producers (Orion Pictures/Amazon MGM Studios)

Best International Feature

All We Imagine as Light

Payal Kapadia, director; Julien Graff, Thomas Hakim, producers (Sideshow and Janus Films)

Green Border

Agnieszka Holland, director; Fred Bernstein, Agnieszka Holland, Marcin Wierzchoslawski, producers (Kino Lorber) 

Hard Truths

Mike Leigh, director; Georgina Lowe, producer (Bleecker Street)

Inside the Yellow Cocoon Shell

Thien An Pham, director; Jeremy Chua, Tran Van Thi, producers (Kino Lorber)

Vermiglio

Maura Delpero, director; Francesca Andreoli, Maura Delpero, Santiago Fondevila Sance, Leonardo Guerra Seràgnoli, producers (Sideshow and Janus Films)

Best Documentary Feature 

Dahomey

Mati Diop, director; Mati Diop, Judith Lou Lévy, Eve Robin, producers (MUBI) 

Intercepted

Oksana Karpovych, director; Darya Bassel, Olha Beskhmelnytsina, Rocío B. Fuentes, Giacomo Nudi, Lucie Rego Pauline Tran Van Lieu, producers (Grasshopper Film)

No Other Land

Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor, directors; Fabien Greenberg, Bård Kjøge Rønning, producers (Antipode Films)

Soundtrack to a Coup d’Etat

Johan Grimonprez, director; Rémi Grellety, Daan Milius, producers (Kino Lorber)

Sugarcane

Julian Brave NoiseCat, Emily Kassie, directors; Emily Kassie, Kellen Quinn, producers (National Geographic Documentary Films)

Union

Stephen Maing, Brett Story, directors; Samantha Curley, Mars Verrone, producers (Self-Distributed)

Best Director

Payal Kapadia, All We Imagine as Light (Sideshow and Janus Films)

Sean Baker, Anora (NEON)

Guan Hu, Black Dog (The Forge)

Jane Schoenbrun, I Saw the TV Glow (A24)

RaMell Ross, Nickel Boys (Orion Pictures/Amazon MGM Studios)

Best Screenplay

Between the Temples, Nathan Silver, C. Mason Wells (Sony Pictures Classics)

Evil Does Not Exist, Ryûsuke Hamaguchi (Sideshow and Janus Films)

Femme, Sam H. Freeman, Ng Choon Ping (Utopia)

His Three Daughters, Azazel Jacobs (Netflix)

Janet Planet, Annie Baker (A24)

Breakthrough Director

Shuchi Talati, Girls Will Be Girls (Juno Films, Inc)

India Donaldson, Good One (Metrograph Pictures)

Alessandra Lacorazza, In the Summers (Music Box Films)

Vera Drew, The People’s Joker (Altered Innocence)

Mahdi Fleifel, To a Land Unknown (Watermelon Pictures)

Outstanding Lead Performance 

Pamela Anderson, The Last Showgirl (Roadside Attractions)

Adrien Brody, The Brutalist (A24)

Colman Domingo, Sing Sing (A24)

Marianne Jean-Baptiste, Hard Truths (Bleecker Street)

Nicole Kidman, Babygirl (A24)

Keith Kupferer, Ghostlight (IFC Films)

Mikey Madison, Anora (NEON)

Demi Moore, The Substance (MUBI)

Saoirse Ronan, Outrun (Sony Pictures Classics)

Justice Smith, I Saw the TV Glow (A24)

Outstanding Supporting Performance

Yura Borisov, Anora (NEON)

Kieran Culkin, A Real Pain (Searchlight Pictures)

Danielle Deadwyler, The Piano Lesson (Netflix)

Brigette Lundy-Paine, I Saw the TV Glow (A24)

Natasha Lyonne, His Three Daughters (Netflix)

Clarence Maclin, Sing Sing (A24)

Katy O’Brian, Love Lies Bleeding (A24)

Guy Pearce, The Brutalist (A24)

Adam Pearson, A Different Man (A24)

Brian Tyree Henry, The Fire Inside (Amazon MGM Studios)

Breakthrough Performer

Lily Collias, Good One (Metrograph Pictures)

Ryan Destiny, The Fire Inside (Amazon MGM Studios)

Maisy Stella, My Old Ass (Amazon MGM Studios)

Izaac Wang, Dìdi Y(Focus Features) 

Brandon Wilson, Nickel Boys (Orion Pictures/Amazon MGM Studios)

Review: Jesse Eisenberg Directs Himself, Kieran Culkin in Sad, Sweet Journey of Discovery in “A Real Pain”

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There’s been a lot of hype about Jesse Eisenberg’s “A Real Pain,” ahead of its opening. Let’s cut to the chase: it’s all true.

A sad, sweet journey, “A Real Pain” was written and directed by Eisenberg, one of the most likeable and simultaneously edgy contemporary actors. He and Culkin, the rocketing star of “Succession,” play first cousins who travel to Poland to see the village their recently deceased grandmother came from.

Eisenberg uses a Polish cinematographer, 34 year old Michal Dymek, for verisimilitude. Chopin, the great Polish composer, is the soundtrack. The movie was shot in Warsaw and environs. Talk about an immersive experience!

Eisneberg, as successful David, and Culkin, as manchild Benjy, join a tourist group in Warsaw that includes a surprising (and welcome Jennifer Grey) as a recent divorcee, Will Sharpe as the British tour guide, Daniel Oreskes and Liza Sadovy as an innocuous couple, and a sublime Kurt Egiyawan as an African turned Jewish who’s come to see history.

Every bit of the first pages of Eisenberg’s screenplay set up the cousins quickly. David is serious and committed to a life plan — wife, kid, job. Benjy is a mess, and as Culkin peels away his layers, he’s revealed as someone who demands attention and gets it.

“A Real Pain” is a short film (90 minutes) that gives you just enough information about the cousins’ backgrounds that when they finally get to their family’s Polish village, the result is satisfying…for a moment. But now what?

Eisenberg gives himself two great speeches that will land him in the Best Supporting category at all awards shows. But his portrait of Benjy, realized by Culkin, is a dissection of “Succession”‘s Roman Roy that has an unnerving ending. Has this trip to discover roots disturbed new branches? Culkin is jarringly good. Eisenberg’s character study is complete. His screenplay will also be front and center this winter.

Washington Post Loses 200K Subscribers, Jeff Bezos Defends No Endorsement Decision (Badly)

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The Washington Post has reportedly lost 200,000 subscribers over the decision to end presidential endorsements. The editorial board was ready to run their piece supporting Kamala Harris. Post billionaire owner (also of Amazon.com) Jeff Bezos killed it at the last minute. Many Post editors have resigned in protest.

Bezos has so much money, and is so insulated from reality at Amazon, that he doesn’t care. Losing 200,000 subscribers is a drop in the bucket when you’re selling buckets by the bucket load for $9.99. He doesn’t mind anything Donald Trump has done, and isn’t going to rock the boat if Trump (god forbid) gets back in office.

Bezos has written an unconvincing essay in the Post explaining his decision. No one believes it (or that he wrote it himself). He doesn’t understand the gravity of what he’s done. Neither does Patrick Soon-Shiong, billionaire owner of the Los Angeles Times, who also put the kibosh on a Harris endorsement. These are not publishers. They are cowards. They are trying to snuff more than a hundred years of journalism. They think it will work. It won’t.

Here’s Bezos’s statement:

In the annual public surveys about trust and reputation, journalists and the media have regularly fallen near the very bottom, often just above Congress. But in this year’s Gallup poll, we have managed to fall below Congress. Our profession is now the least trusted of all. Something we are doing is clearly not working.

Let me give an analogy. Voting machines must meet two requirements. They must count the vote accurately, and people must believe they count the vote accurately. The second requirement is distinct from and just as important as the first.

Likewise with newspapers. We must be accurate, and we must be believed to be accurate. It’s a bitter pill to swallow, but we are failing on the second requirement. Most people believe the media is biased. Anyone who doesn’t see this is paying scant attention to reality, and those who fight reality lose. Reality is an undefeated champion. It would be easy to blame others for our long and continuing fall in credibility (and, therefore, decline in impact), but a victim mentality will not help. Complaining is not a strategy. We must work harder to control what we can control to increase our credibility.

Presidential endorsements do nothing to tip the scales of an election. No undecided voters in Pennsylvania are going to say, “I’m going with Newspaper A’s endorsement.” None. What presidential endorsements actually do is create a perception of bias. A perception of non-independence. Ending them is a principled decision, and it’s the right one. Eugene Meyer, publisher of The Washington Post from 1933 to 1946, thought the same, and he was right. By itself, declining to endorse presidential candidates is not enough to move us very far up the trust scale, but it’s a meaningful step in the right direction. I wish we had made the change earlier than we did, in a moment further from the election and the emotions around it. That was inadequate planning, and not some intentional strategy.

I would also like to be clear that no quid pro quo of any kind is at work here. Neither campaign nor candidate was consulted or informed at any level or in any way about this decision. It was made entirely internally. Dave Limp, the chief executive of one of my companies, Blue Origin, met with former president Donald Trump on the day of our announcement. I sighed when I found out, because I knew it would provide ammunition to those who would like to frame this as anything other than a principled decision. But the fact is, I didn’t know about the meeting beforehand. Even Limp didn’t know about it in advance; the meeting was scheduled quickly that morning. There is no connection between it and our decision on presidential endorsements, and any suggestion otherwise is false.

When it comes to the appearance of conflict, I am not an ideal owner of The Post. Every day, somewhere, some Amazon executive or Blue Origin executive or someone from the other philanthropies and companies I own or invest in is meeting with government officials. I once wrote that The Post is a “complexifier” for me. It is, but it turns out I’m also a complexifier for The Post.

You can see my wealth and business interests as a bulwark against intimidation, or you can see them as a web of conflicting interests. Only my own principles can tip the balance from one to the other. I assure you that my views here are, in fact, principled, and I believe my track record as owner of The Post since 2013 backs this up. You are of course free to make your own determination, but I challenge you to find one instance in those 11 years where I have prevailed upon anyone at The Post in favor of my own interests. It hasn’t happened.

Lack of credibility isn’t unique to The Post. Our brethren newspapers have the same issue. And it’s a problem not only for media, but also for the nation. Many people are turning to off-the-cuff podcasts, inaccuratesocial media posts and other unverified news sources, which can quickly spread misinformation and deepen divisions. The Washington Post and the New York Times win prizes, but increasingly we talk only to a certain elite. More and more, we talk to ourselves. (It wasn’t always this way — in the 1990s we achieved 80 percent household penetration in the D.C. metro area.)

While I do not andwill not push my personal interest, I will also not allow this paper to stay on autopilot and fade into irrelevance — overtaken by unresearched podcasts and social media barbs — not without a fight. It’s too important. The stakes are too high. Now more than ever the world needs a credible, trusted, independent voice, and where better for that voice to originate than the capital city of the most important country in the world? To win this fight, we will have to exercise new muscles. Some changes will be a return to the past, and some will be new inventions. Criticism will be part and parcel of anything new, of course. This is the way of the world. None of this will be easy, but it will be worth it. I am so grateful to be part of this endeavor. Many of the finest journalists you’ll find anywhere work at The Washington Post, and they work painstakingly every day to get to the truth. They deserve to be believed

Review: Julianna Margulies and Peter Gallagher Charm in Delia Ephron’s “Left on Tenth”

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Forget “meet-cute,” the winning rom-com trope that made writer Delia Ephron’s career. In “Left on Tenth,” Ephron’s play based on her memoir at the James Earl Jones Theater about finding love after her husband died, we get the more powerful “beshert.” As Peter Gallagher, in the role of Peter explains, it is Yiddish for fated, is much more cosmic and explosive. That’s how he defines finding love with Delia, Julianna Margulies of “ER” fame in her Broadway debut, after decades, marriages, and emails. This is more than “You’ve Got Mail.” What could go wrong?

Well, as fate would have it, Delia’s watching her blood count after losing her older sister, writer- director Nora Ephron to leukemia. Following many reassuring doctor visits, Delia’s told, it’s not looking so good today. Delia in disbelief exclaims, But I’m falling in love.

Peter Gallagher, among his many theater credits including “Guys and Dolls,” is perfect in a lover role he nailed as Jane Fonda’s younger man in “Grace & Frankie.” Here, as Peter, he helps Delia through the arduous ordeal of cancer. We should all have such a handsome and handy lover helping us through hard life passages. Still, however based on true events, this is a rom-com in high Broadway form, and with Stro directing (that’s Susan Stroman to you), Left on Tenth features dancing. Margulies does a little tap, a little soft shoe, a happy dance. And some old school ballroom dips have the audience kvelling.

And laughing. When Delia compliments the doctor’s shoes, she says she got them ages ago at a sale at Barney’s. The audience lets out a collective sigh. Barney’s! The name evokes unspeakable loss. Forget cancer! The memory of a beloved department store has us where it hurts, the very heart of elite New York City shopping. This play knows its people! Does this spontaneous expression of deep loss happen every night?

Every night, the crowds line up 800 strong, says the usher. Left on Tenth may be the hit of the season. On the night I attended Katie Couric, Tovah Feldshuh, and Brooke Shields came to cheer their friends on in superb performances. Who says the public does not want to imagine older people kissing, and yikes, in bed? This show has everything: laughs, the threat of death, and two live dogs in supporting roles. Along with Peter Francis James and Kate MacCluggage in various parts, they keep the rom-com soufflé real.

Lady Gaga’s “Harlequin” Revenge: Scores the Top Two Singles on iTunes Top 100 with “Disease,” “Die with a Smile”

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Lady Gaga had a career glitch earlier this month with her “Harlequin” album and “Joker” movie.

They bombed.

But now Gaga has her revenge. Her Bruno Mars single, “Die with a Smile,” is back at number 1 on iTunes. It’s been a smash for weeks, since before “Harlequin” came and went.

On Friday, Gaga released a new single, “Disease,” a throwback to her early dance club hits. It was number 1 all weekend until “Die” came back and knocked it to number 2.

You can’t beat that. Two different singles at the top of the charts! And they’re each very good.

Tom Hanks-Robin Wright “Forrest Gump” Reunion Film “Here” Panned by Critics, Opening Friday DOA

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“Here” is nowhere.

I am said to report that Robert Zemeckis’s film that arrives on Thursday in previews looks headed for disaster.

So far, it has a 29% on Rotten Tomatoes. The film starring Tom Hanks and Robin Wright has been advertised heavily but is not on anyone’s list of movies to see this weekend.

Miramax (the new one, not the old one) has issued ads that make “Here” look like a “Forrest Gump” reunion or reboot. It’s not. It’s based on a graphic novel and takes place over many years shot just in one room, from one point of view. Hanks and Wright are aged via the same process that was used by Martin Scorsese for “The Irishman.”

Only 17 reviewers have posed to Rotten Tomatoes, but they are mostly in accord. They don’t like it. It’s hard to say how many more reviews will be posted before preview screenings begin on Thursday. But the numbers will not improve much.

According to some reports, “Here” only cost around $50 million, so the exposure won’t be terrible. Zemeckis, who has made some brilliant films, obviously tried something here with technology that didn’t work out. But look at his resume: “Forrest Gump,” three “Back to the Future” movies, “Flight,” “Who Framed Roger Rabbit,” “Romancing the Stone,” “Contact,” “Cast Away.” His place in film history is secure.

At least we’re guaranteed there won’t be sequels to “Here” called “There” and “Everywhere.” That’s some consolation.

The Bear as The Boss: See First Image of Jeremy Allen White as Bruce Springsteen in New Film

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Scott Cooper’s “Deliver Me from Nowhere” has begun production.

Jeremy Allen White, famous for playing Carmie on “The Bear,” stars as Bruce Springsteen circa 1981. It’s the story of Bruce writing the “Nebraska” album.

I scooped news of this movie being made earlier this year.

Other characters in the movie are Bruce’s manager Jon Landau, Stevie van Zandt, Bruce’s father, guitar tech Mike Batlan.

They’re played respectively by Emmy winner and Tony nominee Jeremy Strong, Johnny Cannizzaro, Paul Walter Hauser, and Sir Stephen Graham.

“Beginning production on this film is an incredibly humbling and thrilling journey,” said Cooper in a release. “Bruce Springsteen’s ‘Nebraska’ has profoundly shaped my artistic vision. The album’s raw, unvarnished portrayal of life’s trials and resilience resonates deeply with me. Our film aims to capture that same spirit.”

Bad Bunny Endorses Kamala Harris as Trump Rally Speaker Calls Puerto Rico “A Floating Island of Garbage” (Video)

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Puerto Rican and international pop star Bad Bunny has endorsed Kamala Harris for President on his Instagram page. He has 45 million followers.

Here’s the link.

This comes as a comedian called Tony Hinchcliffe, speaking at the Trump MSG rally today, called Puerto Rico “a floating island of garbage.”

Harris and Tim Walz, with Rep. Alexandra Ocasio Cortez, immediately denounced the comedian.

Puerto Rico has 3.2 million voters on the Island, and 5.9 million in the United States.

Hinchcliffe’s response? “These people have no sense of humor. Wild that a vice presidential candidate would take time out of his “busy schedule” to analyze a joke taken out of context to make it seem racist. I love Puerto Rico and vacation there. I made fun of everyone…watch the whole set. I’m a comedian Tim…might be time to change your tampon.”

Here’s what Hinchcliffe said:

 

Trump MAGA Rally Supporters Offered Chance to Get 2 Free Machetes, Described as “Brutal Weapons”

Trump MAGA Rally Supporters Offered Chance to Get 2 Free Machetes, Described as “Brutal Weapons”

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What does being part of MAGA mean?

I signed up for two ticket to today’s neo Nazi rally at Madison Square Garden. I was approved and immediately received emails and texts I didn’t want.

Among them today was an email from something called Firearm Deals. The offer? Two free machetes, described in the email as “brutal weapons.”

The machetes are free but shipping is $12.95.

This is how demented Trump’s fans are. They are about violence, anger, and stupidity. They only want to hurt others. That’s the “policy” that the idiot MAGA say they support. They should be ashamed of themselves or in jail.

Why free? Maybe this is for use on January 6, 2025 when they stage a new insurrection.

Want some fun? Read the complaints to the Better Business Bureau here about the company that owns this stuff, called Survival Constitution LLC. Smells like a Trumpian organization.

PS I did not use the rally tickets, and I will decline the machete offer. Thanks, goons.