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David Poland

By David Poland

BYOB 53011

21 Responses to “BYOB 53011”

  1. chris says:

    I didn’t quite notice this since they were announced so far apart, and I’m sure I’m not the first to point it out, but it seems crazy that unknown-until-a-few-weeks-ago Jessica Chastain was the female lead in both the Palme D’Or and Critics Week winning films at Cannes. Surely that’s never happened before to a non-star? (And she’s in “The Help” and she’s in the “Murder on the Orient Express” remake that just showed up on Masterpiece Theatre.)

  2. sanj says:

    dj Mike Relm remixes music and videos

    here’s cop-out movie remix

    other remixes Iron Man 2 – Scott Pilgrim – Sarah Palin
    …about 30 minutes of videos – if your a movie reviewer
    you should check all these out – they are more entertaining than most movie trailers out there

  3. sanj says:

    weird video of the day

    Angelina Jolie to Brad Pitt Morphing

  4. LexG says:

    Re: Jessica Chastain and Chris’ question in the first post:

    I didn’t wanna opine in this in her DP/30 thread, since it always seems rude, and risky in case the talent decides to watch their interview and see a bunch of us dorks making fun of them…

    But Jessica Chastain claims she has something like 11 or 12 movies coming out in the next year, thanks in part to some of them being so long in the can (Tree of Life, The Debt, to name two.)

    My KRESKIN POWERS regarding young actresses are leading me, sadly, to say she’s not really going to catch on. She just has to look ethereal and soulful in TOL, but she’s actually quite good in The Debt, which I saw like a zillion years ago when I worked on the DVD of it even thought it still hasn’t come out yet… Apparently I saw her in the LA stage production of SALOME with Pacino and Kevin Anderson, though I don’t remember much about her in it.

    But I don’t know… I don’t think she has “it,” at least as far as mainstream audiences are concerned; She seems a little HIGHFALUTIN and mostly just seems like she’ll get mixed up with Bryce Dallas Howard. Who I like just fine, but let’s face it, THE BDH hasn’t been tearing up the MOVIE STAR! spot for the last 7 years they’ve been trying to make her happen.

    I think we’ll get this initial HER AGAIN? blast of movies, as is the MO for every new actor they’re trying to break, from McAvoy to Worthington to Farrell to Cooper to Carey Mulligan… then she’ll fall into her probable niche as a zonked-out schoolmarm type in bad Jaglom and Solondz movies.

  5. sanj says:

    Photographer Tyler Shields wants to know, “are you a vampire or unicorn person?” Emma Roberts and Juno Temple helped readers make a decision.

  6. leahnz says:

    is it wrong that i have a massive crush on ‘russel’, the kind of inverse-‘early grayce’ red-neckish hick deputy in ‘the crazies’ remake? damn

    (oh, and talk about englishmen capable of impeccable american brogues…anderson is the man)

  7. torpid bunny says:

    Oprah’s departure resembles in some ways the season-long christmas party Kareem threw for himself when he retired.

  8. Don R. Lewis says:

    I’m with Lex. Chastain reminds me of Bryce Dallas-Howard without the famous dad.

  9. dberg49 says:

    Mr. Poland would love to hear your thoughts on the Kavanaugh news…

  10. movieman says:

    Lex- Did you see Chastain in “Jolene”?
    Lots of sex and nudity, and a pretty good Dan (“The Whole Wide World”) Ireland movie.
    You really need to check “J” out if you missed it during its truncated theatrical release last fall.

  11. David Poland says:

    dberg… what do we think the news really is?

  12. Foamy Squirrel says:

    That Kavanaugh apparently doesn’t know what a call option is?

  13. David Poland says:

    I’m not willing to take Nikki Finke’s “reporting” as fact. She clearly is pushing an agenda, which is not limited to, but includes, smacking Sharon Waxman. And Sharon, the reverse.

  14. JKill says:

    Bryce Dallas Howard is a consistently awesome actress who, mostly, sticks to really strong projects, in addition to being incredibly beautiful…

    Just recently saw HEREAFTER, where she kills in a minor role.

    Also, was it just me or was HEREAFTER really, really underrated?

  15. sanj says:

    hey DP – how about a video review of N-Secure – it’s out
    on dvd now.. my guess is none of the dozen major movie blogs
    will review this … so DP you can have the exclusive review.

    here’s the trailer for N-Secure ..

  16. sanj says:

    hey DP – have you figured out how famous a person can get if you put them on the front page of MCN ?

    pick some non famous actors and put them up … do a random poll of which actor needs to get famous fast ..

    then wait a few days and see how famous they get – based on twitter or blog posts on other movie sites

  17. lazarus says:

    sanj is the D.Z. of The Hot Blog.

    enough of the links already.

  18. Dberg says:

    That’s what I was trying to figure out… it is a bit confusing trying to piece together…. makes me think of the quote (with liberties taken) … “there are three sides to the story…. finke’s side… waxman’s side and the truth.

  19. sanj says:

    the links bother you that much lazarus – kinda hard to avoid
    links on the internets.

The Hot Blog

Quote Unquotesee all »

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin