| March 6, 2022
This is the most laid-back Paul Thomas Anderson film ever. Which is to say that you can feel Paul’s willingness to just let it rip. Obviously, there is structure. Obviously, there are clearly considered ideas brought to fruition visually. But there will be no frogs. There will be no surrealism. No milkshakes or powerfully long stretches of silence. No duality. No Phils, no Bill, no cobbler.
This is really Paul’s first movie with a female lead. He came close with Phantom Thread, but ultimately, the woman’s journey there was about learning to help a man come of age. In Licorice Pizza, it’s about the woman and the young man who brings her into her own.
But I am not reviewing the film today. I am writing from the perspective of the award season, still in the process of becoming the throbbing whitehead about to explode all over Hollywood.
Licorice Pizza doesn’t definitively answer the question, “What film is going to win?”
There are 4 contenders left in the starting gate. Being the Ricardos, Don’t Look Up, Nightmare Alley, West Side Story. The Ricardos arrives this next weekend. Nightmare Alley has plunked its arrival on December 1. The other two seem certain to turn up in the 17 days in between.
Personally, I don’t think there is much question that Licorice Pizza is the most complete film currently on display. But that and a nickel won’t buy you anything.
Today, if I had to bet, I would bet that either West Side Story or Nightmare Alley is your Oscar winner. But I have seen neither. I have seen the original of both. If Nightmare is going to be The Movie, Guillermo & Co will have delivered a big leap forward from the original film noir. West Side Story certainly will be different in certain ways coming out of Tony Kushner’s quill, but the bones – the songs – are going to be pretty much the majestic ones we know.
For the rest… please visit and subscribe
| March 6, 2022
| January 26, 2022
| January 24, 2022
May 1, 2022
"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix
| April 30, 2022
"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild
April 29, 2022
| April 29, 2022
| December 13, 2019
| December 4, 2019
| December 4, 2019