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David Poland

By David Poland

BYOB 101016

trumppig byob

16 Responses to “BYOB 101016”

  1. Bulldog68 says:

    Dave I find this pic insulting. How dare you equate Donald Trump to a pig. We all know he’s beneath that.

  2. Sideshow Bill says:

    You should make another one of those and put Devin Faraci’s head on it.

  3. EtGuild2 says:

    “Should Donald Trump drop out of the race? Yes. He should drop out of the human race. He is an animal. Apologies to animals.”-Republican consultant Ana Navarro.

    Another realization for me on how insulated I am is when Hillary provided what I thought was a genuinely eloquent answer on having different policies in public vs private in reference to Spielberg’s “Lincoln,” and the insider work he did to pass the Thirteenth Amendment (the leaked email in question was her reaction to the movie). Trump immediately attacked her on comparing herself to Lincoln and the audience guffawed along with him.

    The Democrats have nominated technocratic, analytical candidates for president for over 30 years now, and I thought we’d reached the point where anti-intellectual arguments were losing steam at the national level. Hillary, her many other flaws aside, isn’t very good at this. She can rattle off encyclopedic knowledge of internal Kurdish politics at an 11-hour congressional hearing, but much like Kerry and Gore, and unlike her husband and Obama, has no patience for dumbing down when necessary. I assume because she thinks it’s beneath her, or perhaps isn’t quick enough on her feet in these operatic spectacles. But I can’t believe it still is necessary in this day and age. Sad!

  4. EtGuild2 says:

    Speaking of “Lincoln,” which is a master class in humanizing a revered figure, and pointing out the petty wheelings and dealings that he wasn’t, and couldn’t be above, I finally caught up with “The Innocents,” which is a 180; how not to make a movie of an historic event. I’m totally down with slow-moving monastic dramas, and “Innocents” is very well crafted, but it needs to have a narrative, or some spiritual or metaphorical value in order to engage me, ala’ “Of Gods and Men.” Otherwise you’re just mounting a very expensive semi-reenectment.

  5. Hcat says:

    I loved Cruz’s “where was this eight months ago” reaction to the tape. Forget that his party has nominated a buffoon who is gross and grossly unqualified by all measurements to be president, Cruz sees a conspiracy because the tape wasn’t found early enough to help his chances. This tape is only some sort of smoking gun if you have already ignored DNA evidence, survallence footage, eyewitness testimony and whatever else fits into that metaphor. It’s amazing to me that people are committing crimes to hack into databases to get nondamning evidence against Hillary while trump is easily hung because he betrays his creepiness in normal conversation into an open mic.

  6. Stella's Boy says:

    Good point Bill. How do you not remember something but also assume it’s true and beg for forgiveness? That makes no sense. I never liked the guy. He always seemed to represent the worst of online critics going back to the days of CHUD.

    Will the footage from The Apprentice ever see the light of day? At this point I can’t imagine it matters as the election is over (Andrew Sullivan, really?).

  7. Sideshow Bill says:

    I’ve never liked Faraci either. He’s always been a bully, a hypocrite and a creep. Not beating my chest over this because it’s awful and someone was harmed. But he deserves the scorn being heaped upon him. He’s said and done so many other rotten things this is somewhat unsurprising.

  8. EtGuild2 says:

    Initially the pressure was on Mark Burnett to release, but he’s claiming MGM has it. Will Rob Lowe and others be pressured? Time for a boycott of Code Black!

  9. Raymond T says:

    It’s good that there has been blow back on Devin.
    I guess everyone’s now waiting for Tim League to say some more on the subject

  10. Sideshow Bill says:

    Devin once responded to a 20 year old female you emailed him about his Passion Of The Christ review by asking for nude photos. I have a screenshot of it. This was 2003. He’s always been a bad person.

  11. LBB says:

    I probably shouldn’t be as surprised by the Devin story as I am. It’s easy to see a line between the bully he can be and the behavior that’s been reported. I’m not feeling a shred of sympathy for him. But I have been examining my own behavior over the years. There’s nothing like what Trump described or what Devin seems to have done. But, man, this type of behavior is so pervasive and wired into the culture. Not saying that as “holy shit, what a revelation!” Just that there are so many ways this crap happens even when it stops short of physical abuse. If there’s any good that can come out of this lanced boil of our political process, I hope it at least leads to a wider examination of all of this.

  12. Jspartisan says:

    Shit. I totally missed that shit about Devin, but this dude has needed to be phased out for a while. He just got madder and madder at people’s fandom, and this isn’t even the bad moments of fandom. He just seemed continually pissed off, that people could enjoy something. His Luke Cage review, being another example, of the motherfucker being all about shitting on something, that received a lot of love. Hid sexual assaulting ass can stay the fuck at home and maybe pay for a fucking movie, for fucking once. The world has moved on, from his view of fandom. Grabbing someone like that… Is just so vile.

  13. Stella's Boy says:

    I always thought he seemed like a loutish asshole, but that was based on his writing and hyper-aggressive fandom. It’s not like I had any idea what he was like in-person. But it’s clear that this comes as no surprise to people who actually know or knew him. And I guess I shouldn’t be shocked that someone who belittled and bullied people for not sharing their movie preferences behaved like this. What took so long? It took a single tweet about Trump to blow this up? Better late than never I guess, but it’s highly unfortunate he wasn’t held accountable much sooner if he’s been like this for a long time.

  14. LBB says:

    He’s been a bully before in an uber-film-geek, self-righteous way. The specific nature of this news was a surprise to most of us who only know him one way. But once this stuff surfaced, the verdict was swift. I’m sure Tim League doesn’t want anything like that associated with him. But, yes, if people knew about this all along and covered for him or kept quiet (apart from the victim because I can’t imagine how hard it is to step into a spotlight like that) then it’s ridiculous it took this long.

  15. Pat Hobby says:

    Good riddance to Devin. He was an anti-cinema bully boy who ran a hateful and unreadable website. Another example of it doesn’t matter what you do as long as you say the right thing.

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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