#apparently the two categories of films i’ve seen over the past few months are films where everyone is shooting each other

[starbuck]

updated my ‘movies watched’ list for the first time in months and spent several minutes trying unsuccessfully to remember “that other film i saw where everyone was shooting each other” … it was The Godfather

[citizenaycock]

The Master (2012) | Written and Directed by Paul Thomas Anderson

Intro and Technical Details

I try to figure out why I gravitate to certain films.  Most of the time, it’s after someone asks me what my favorites are. I tell them, and then 90% of the time they don’t understand why I like those particular films. I’ve asked myself if it’s just some kind of wanna-be elitist, cinephile phoniness or something...but that’s not it.  The reason I love films like The Master is due to their elusiveness.  The Master shows you an approximate direction, but doesn’t overtly tell you what the answer is. In my eyes, this places it in a special category of cinema which is mysterious and often transcendent.  It has something profound to say about us as humans and morphs with each viewing.  It is alive because it doesn’t spoon-feed you an agenda or proposed concrete “truth” or “moral lesson”. My goal in this post is to take what I know and implement my personal thoughts and film knowledge to try to gain a better understanding of what this film is.  This is my third post analyzing a film of my choosing.  The first was about two women (Persona), the second was about a man and a woman (Cold War) and The Master is about two men. When people ask me what my favorite movie is, I tell them The Master by Paul Thomas Anderson.  This is also PTA’s favorite film of his own.  I remember the first time I watched it was at the NoHo Laemlle Theater a couple of blocks from where I live, right off of Magnolia, which happens to be the title of the first Paul Thomas Anderson film I ever watched.  But while watching The Master that day in the theater, I remember feeling lost and dumb.  I knew A LOT was happening but I didn’t know what. It left me behind.    As a short filmmaker, when I first started (around the time The Master came out) I would just have stuff in my films (images, sounds, lines, etc) that were superfluous and didn’t have any legitimate reason for existing.  My intentions were good...I was trying to create an atmosphere, even though a lot of the attempted atmosphere didn’t connect to the story or the idea being examined.  I think it’s because a lot of the movies I was watching during that time I didn’t understand.  I didn’t know why the director was making the detailed choices he or she was making.  I still don’t always know the reason, but I do have a better idea. I must’ve thought these choices were just there spontaneously or by accident...for style-sake maybe!  I was just going along the ride without consciously considering the nuanced decisions the director or actors were making.  And oddly enough, this particular film is about a cult called “The Cause” and every cult’s main philosophy-based objective (in some odd form or fashion) seems to be to awaken your consciousness to yourself and/or to reality.  If one is a film lover, and is so inclined to dig into this film, I believe one must watch consciously to understand it and not just go on the ride.  And at first glance, one might make the mistake of thinking there is no rhyme or reason for certain moments, but Anderson is a filmmaker that does a vast amount of research and is very aware of what he’s packing in there.  A literary example (which is much more elusive) is Finnegan’s Wake by James Joyce.  Many believe Joyce was just goofing around with words, but if you read Joseph Campbell’s Skeleton Key or do some independent research on each phrase and term (if you have 10 years), one will realize there is meaning within the puns and riddles and melding-words. Finnegan’s Wake is a circular book and I believe The Master is a circular film.  Finnegan begins again and I believe Freddie begins again.   Roger Ebert gave the film 2.5 out of 4 stars and I love the first two sentences of his review: “Paul Thomas Anderson’s "The Master" is fabulously well-acted and crafted, but when I reach for it, my hand closes on air. It has rich material and isn't clear what it thinks about it.”   Of course, I disagree mostly.  I agree that the material is rich, but I think it’s clear what it thinks about itself more than Ebert thinks...and I’ll elaborate on this opinion throughout this detailed post.  The next sentence in the review (after the quote above) is about how the Dodd character is based on L. Ron Hubbard, the founder of Scientology, but how in the film there is no clear vision of what the cult is or what it becomes.  I believe we see quite a bit of what it is and we see that it has expanded to England by the end of the film.  The film never lays out the exact tenets of the cult in list form, but Dodd himself is making it up as he goes along and this is expressed multiple times in the film.  I also believe enough is revealed to get a fairly good idea of the cult’s philosophy and the methods being used for “curing”. Also, in my opinion, I don’t think understanding “The Cause” is entirely relevant to what the film is trying to say.  The film is mainly about the symbiotic relationship of the two main characters, Freddie and Lancaster.   I rewatched There Will be Blood last night (Anderson’s film before The Master) and the thought came to me that you have to watch the expressions of the characters closely during these films and follow what’s happening inside of them.  This seems so obvious to point out, and could definitely apply to any film-watching experience, but the acting in Anderson’s films is so strong and subtle one will be lost unless you watch the silent moments and what the faces show you. I'm really trying to pick the right words to express this...but you have to consciously tell yourself while watching (in your thoughts) what’s happening with these complex characters if you want to understand the transitions. I don’t think the camera movements are as important in The Master nor the lighting, but it’s the characters’ internal life expressed in their faces manifesting from their psychological states, needs and wants.  Of course, Freddie’s gait is a big part of his character and various body language from the all the characters are  important, but their faces tell you most of the story. Also, I believe some knowledge of Spiritualism is needed to bring to the table, but I don’t think it’s absolutely necessary to understand what the film is trying to say.    But anyway, perhaps I’m over-explaining too soon.  I was trying to figure out how movies like this get away from people (including me) and cause so much confusion.   The last time I saw the film was about 6 months ago at The Egyptian Theatre in Hollywood where the premiere was in 2012.  The screening I saw may have been the same 70mm print from the premiere, but I could be wrong.  I just tend to think there’s not too many 70mm copies out there.  The Master was the first fiction film in 16 years to be shot in 65mm and then 5mm is added for the audio track.  I didn’t know for a long time the reason why such a big film stock made a difference, but apparently it’s because more information can fit on each frame, therefore it’s crisper and more details can be seen...which makes it epic and ambitious and a filmmaker is really swinging for the fences if they use this big stock! Anyway, there was quite a large crowd at the Egyptian and I remember laughing at a few spots where no one else was and kinda had to pull myself back.  I also remember noticing a lot of things I hadn’t noticed before and I’m sure this will be the case when I rewatch it again for this post. Before getting into the film, I'd also like to mention I will probably come off as a bit of a fan boy in this excerpt.  It is because I believe Paul Thomas Anderson is one of the best filmmakers in the world of the past 25 years and has much to teach in a field that I’m passionate about.  Also, I believe The Master is a master-piece and there are new interpretations of depth and reference that I am still uncovering (or think I’m uncovering).

Freddie Quell, Navy Man at Sea

The opening shot is of aqua blue water behind the back of a ship, which is also the dominant color in the palette of the film and the color I think of when I think about the film.  Johnny Greenwood’s score crashes in and then we see the first shot of Freddie Quell in a bunker with a military helmet on.  I can’t remember where I read it but Paul Thomas Anderson told Joaquin Phoenix to mimic the monkey in the hot spring from the documentary Baraka for this shot, which also coincidentally was filmed in 65mm.  I’m sure it's partly a nod to the film’s use of the same stock size, but I also think it's covertly setting us up for Freddie’s animal-like nature...or pointing to the animal-like nature of war and how this particular primate, Freddie, is expected to change his entire behavior, which is attempted by Lancaster Dodd throughout the film.  Simplistically put, Freddie indulges in his animal nature.  Dodd denies it.  A dichotomy that will also act as a magnet between the two throughout the film and something that I will point out several times.    Also, we wonder if war broke Freddie or was Freddie already broken? Or is he actually “broken” at all??  

We immediately see that Freddie drinks heavily and how he is markedly different from the other soldiers in the group.  He takes things too far and is much cruder than the others.  He drunkenly simulates sex with the nude sand woman the guys have made and then masterbates into the ocean.  He then lays down and closes his eyes next to the sand sculpture bosom, almost oedipal-like, sweetly spooning its side.  This exact same image will pop up again and I believe it holds a large significance in the key to understanding the film.  

It is next revealed Freddie can make booze out of pretty much anything as he drains what looks to be the ship’s missile fuel into a cup.  This also seems to be Freddie’s way of making friends with the other troops, as it is simultaneously announced that World War II is over.   The camera scans the room and shows all the interesting yet shell-shocked faces of the troops as it’s explained to them by their superior they are now able to enter the world.  They are told they can now open up their own businesses with the skills they’ve acquired.  This doesn’t come off so much as anti-war, but obviously points out that a lot of these men are damaged psychologically, and the military either comes off as naive or willfully ignorant regarding the mental state of the guys entering the world post-service.  This is magnified by a comical scene of Freddie sitting in a room with a hardened military psychologist who shows him rorschach blots as Freddie interprets every single one as extremely sexual.  Phoenix is amazing in these closeups and the camera is able to hold on him for long periods of time.  This was after his fake retirement from acting and I think he was hungry for this film.  His face is gnarled with lines. He has this mumble that’s slightly distracting but makes you lean in as he moves in and out of the camera’s shallow depth of focus.  This film has so many closeups and doesn’t include the long steadi-cam and dolly shots like in Boogie Nights or There Will be Blood.  The comical scene is followed by a sad scene showing us that Freddie has some real psychological pain.  He talks little and very uncomfortably to another military psychologist about his family and an old sweetheart.  Freddie mumbles, “you can’t help me” and later sarcastically says, “thanks for the help”.  Later on we wonder if Dodd gives him real help opposed to these psychologists.

Freddie Enters the World

Freddie has a job as a photographer in a department store.  The portraits look lovely. The song underneath during this scene is perfect (”Get thee Behind Me, Satan” by Ella Fitzgerald). 

Freddie flirts with a woman that models clothes for customers.  He later then mixes some of his potion in a photo-chemical room like an Alchemist. They both drink from the flask and then kiss.  She shows him her breasts.  Freddie asks her to go out that night, which cuts to Freddie passed out drunk at the restaurant table and the woman annoyed.  

The next day Freddie is hung over at work and gets into a fight with a large male photo client.  Freddie comically runs from the man and throws various items at him while dodging and weaving behind columns.  The camera covers the commotion in wide shot in the department store so well! Then Freddie does something peculiar and funny by grabbing the hand of the model (his date from the night before) like he’s leaving the job and she’s coming with him.  She looks at him baffled as they hurry out.   Music comes in perfectly here (once again) with a jagged discontinuity of woodwinds which takes us to Freddie now working in a lettuce field in Salinas, California.  The shift to this new, vastly different environment is dreamlike.  Freddie continues to make booze and gives some to an older man that Freddie says looks like his father.  The man gets ungodly drunk and Freddie is run out of the work group after being accused of poisoning the man, which leads to one of my favorite shots of the film.  It is a long tracking shot of Freddie running through a foggy field away from the workers chasing him.  I liked it so much I tried to slightly copy it while shooting a silly annual family short film in a cotton field in Texas, also running away from farmers.   And worth mentioning (assuming my short film is worth mentioning), I remember reading somewhere that Paul Thomas Anderson read about the life of John Steinbeck (from Salinas, CA) and incorporated some of the stories in The Master. 

The Master (2012) Paul Thomas Anderson (Panavision 65mm)

The Jackel (2016) Cory Aycock (Canon 7D Crop Sensor)

Freddie Meets “The Cause”

Next, it cuts directly to Freddie walking on a dock, looking cold and dejected. In the distance is a boat docked with a lively party and warm lighting.  Music plays and we get our first glimpse of Lancaster Dodd. He dances charismatically with his wife in the middle of an admiring group as Freddie, the misfit loner, decides to sneak onto the boat.  The boat is then shown setting out to sea, which looks to be departing from San Francisco under the Bay Bridge.  

The next morning, Freddie is hungover and has a humorous conversation with Lancaster, the leader of “The Cause”. Such a great opening scene with these two and Phillip Seymour Hoffman is so great in this role.  I think it’s his best performance...but I’m biased. As mentioned, the conversation is humorous, but not funny-haha.  Again, I will try to explain as best I can what I feel when watching some of these scenes... They talk in such a way, not necessarily about funny stuff, but they are such characters and there’s such chemistry it puts a smile on your face.  You see the inner-game they are both playing and it’s delightful to watch.  They are opposites, which creates this lively synthesis and makes you laugh sometimes, but also gives you such a large mindscape to enter during these rich, concentrated dialogue sessions.   In this first conversation, Lancaster and Freddie both mention that the other seems familiar, which comes back later.  Their association is sweet yet ridiculous at times.  A likable naivety exists, but also a sense of intrigue and darkness lies underneath. Dodd tells Freddie, “I am a writer, a doctor, a nuclear physicist, a theoretical philosopher...but above all I am a man...A hopelessly inquisitive man, just like you.”  And shortly after calls Freddie a scoundrel, but asks him to make more of his secret booze.        A young Rami Malek, Clark, pops up next in the film and is marrying Lancaster’s daughter, Elizabeth.  The first interaction we see between Hoffman and Malek feels like a Tom Cruise-like stareoff.  Malek stares until Hoffman ducks his head in slight awkwardness.  This trivial detail always catches my attention and I’m not sure why. Lancaster gives a speech after the ceremony in triangular blocking.  This is my favorite speech of Dodd’s in the film.  He is at his most charismatic and funny here, in my opinion, and touches on some of the philosophies of “The Cause” in symbolic terms.  He talks about lassoing a dragon and then teaching it stay, then roll over and play dead. I’m almost positive this serves as a metaphor for taming the ego and/or reactionary mind, then learning how to navigate life playfully following this “enlightenment”.  Freddie shifts in his drunkeness from confusion to laughter while continuing to compulsively drink all the alcohol in sight counter to the simultaneous speech.  

Although, Lancaster loves Freddie’s booze and, again, secretly asks for some after the speech.  Freddie’s process of procuring this solution is somewhat like a mad alchemist and shown multiple times in the film. To me, this could metaphorically point to some type of alchemy forming between the two opposite characters considering the psychological and metaphysical tone of the film. It is also revealed the next morning by Amy Adams’ character, Peggy (Dodd’s wife), that Freddie inspires something in Dodd and he has been writing much more since Freddie showed up.  Peggy has asked Freddie to sit with her at breakfast, possibly to see what it is about him that could possibly spark this insight in her husband.  Despite this, I don’t think Peggy sees anything special in Freddie and doesn’t understand their relationship for the remainder of the film.  Actually no one, besides maybe Elizabeth, sees anything worthy in Freddie at all other than Dodd.  I believe this is because Freddie fills a unique gap within Dodd.    I will expand on this more later, but to me it’s obvious Freddie is filling the gap of the id.  Freddie is a scoundrel, an open drunk, a philanderer and a wanderer.  These are things Dodd isn’t.  He forbids himself of being this and Freddie is counter to this persona of Dodd’s, who is a leader, married and always ON.  He is relied upon by his followers, always maintaining his status as prophet for the cult...perhaps the superego. Soon it is revealed there are “processing” sessions occurring on the ship, recording “past lives”.  Everything is being put on tape of what people are saying during these sessions.  Freddie humorously navigates the ship during all of this.  At one point he sits at a table and puts on some headphones and it’s Lancaster’s voice deliberately stating,  “We are not animals.”  “We are not a part of the animal kingdom.” Simultaneously, Freddie looks across the table at a young woman and passes her a dirty sexual note.  She goes back to work as Freddie watches her.  The sun behind him shines through the window and perfectly peaks behind Freddie’s head.  This is what I meant at the beginning of the post...the film is showing you something regarding the ideas it is trying to express.  In this moment it’s not necessarily just in the face of the character, but in what Dodd says in the headphones in direct opposition to Freddie’s sexual note and then the sun winking at us from behind. For some reason, it makes me cringe to analyze some of these moments... demystifying and deflating the “magic” of these details.   

The distinction of “animal” pops up periodically a few more times in the film on the account of Dodd. Again, Freddie (the animal) and Lancaster (the divine) forming a fully whole being.  Now, at the 36 minute mark, the best scene between two actors sitting across from each other at a table I’ve ever seen.  It reminds me a bit of the scene in Persona where the two women sit across the table from one another when they meld. They also repeat the dialogue here like in Persona and Dodd dresses down Freddie similar to Alma’s dressing down of Elisabet.  The face lighting in this scene is also similar, half-lighting the characters but in a dark Charlie Rose-like room directly counter to the white background in Persona.   The scene begins by Freddie being processed after a drink with Lancaster.  Lancaster asks him probing questions about his life and records it.  The scene is funny, dark, raw and nuanced.  I can’t say enough about this scene, there is so much here.  Phoenix moves and looks around.  Hoffman stays still, centered, not breaking eye contact.   The first time around, Freddie doesn’t take it seriously and farts in the middle of them talking.  Lancaster playfully calls him a “silly animal” and ends the processing session soon after by turning off the recorder.  Freddie seems disappointed and wants to do it again. Lancaster sets up the rules this time and tells him he is not allowed to blink during the questioning. Freddie agrees.  In somewhat Mesiner-like fashion they continue the exercise in a long closeup on Freddie.  Phoenix is amazing here and at one points slaps his face multiple times after he blinks.  They start over.  Tears roll down his face.  Apparently Freddie is severely troubled by his family past and recalls a sexual relationship he had with his Aunt.  Then he reveals he was in love with a girl in his hometown named Dorris.  It beautifully cuts from the black, heavy room to a bright sunny day and the white house where Dorris lives with colorful flowers in front.  This is a beautiful contrasting cut by Anderson transporting us.  Also, worth pointing out, is the contrast of how silly the scene started with farts and laughter, then taking us to this this deep, heavy pain within Freddie.

This is a unifying scene for Freddie and Lancaster.  And despite what we think about the legitimacy of the cult, some type of deep psychological progress with Freddie is being made here...a progress that was not even close to being accomplished with the military psychologists.   Or is this “progress”?  Feels like it.   As Freddie comes back from the flashback, it cuts to the aqua blue water again, similar to the opening shot of the film, perhaps personifying Freddie’s current mental state.  The color of Freddie’s shirt also matches the color of the water.

Again, there is a charming naivety within Lancaster regarding “The Cause” during his far-fetched final questioning lightening the mood before the two have a drink and smoke a Kool together.

Funny outtakes at the end of the scene.

Obviously, Dodd is modeled after L. Ron Hubbard, but I don’t think it's a nasty rebuke or hit piece, nor is it an exact replica.  I read Anderson and Tom Cruise remained friends after Anderson showed it to him.  If one thinks it’s mainly a film about Scientology then they are absolutely wrong.  It’s evident Anderson loves these characters in spite of all their flaws and complications.  Dodd remains a believer of his own philosophy throughout the film, which I think keeps him likable.  You also believe throughout he wants to help Freddie, even though some of that motivation may be ego-based or material for his writing.  He is misguided at times but cannot be broadly painted good or bad and does not come off as maliciously pumping out nonsense solely for monetary gain.  You believe he believes. 

Sea-Legs to Landlocked

The ship now arrives at New York City and the group attends a fancy party at a home.  You get the feeling this new spiritual movement is in vogue.  Freddie goes straight for the booze and also begins stealing random stuff around the house.  Lancaster schmoozes, then is shown performing a processing exercise for a woman laying on the couch for the party crowd.  This last time watching, I got the feeling Dodd was curious what she would say and that every session he conducts he secretly sees as an experiment, collecting more data for himself rather than having a fully realized philosophy or completed methodology.  

I’ve read Dianetics, so I do believe I have more insight into what’s going on in some of these scenes than a regular viewer.  Although, I also believe the information is already there in the scenes if one pays close enough attention. And I’ll say it again, “The Cause” is not a carbon copy of Scientology.  But, to generalize, the quest of both seems to be the same...to reach a state of “perfect” (or “clear”) by cutting through past traumatic memories and lifetimes (when the “analytic mind” was unconscious) in order to tame the current reactive mind. After processing, the woman on the couch talks about her past life and Dodd answers some of her questions.  Then, a naysayer from the party verbally challenges the legitimacy of Dodd’s claims.  "The Cause” is no longer confined to the vacuum chamber that is their boat.  Dodd raises his voice in anger and Peggy looks visibly rattled as well.  Lancaster eventually loses his cool after the naysayer continues to not back down and calls him a “Pigfuck”, which makes me laugh every time.  This is the first time we see Dodd lose his composure in the film.  Freddie is observing off to the side and throws a tomato at the guy, probably something Dodd wishes he could do.  The party guest is obviously convinced there is no way to have a logical discussion regarding “The Cause” with Dodd and he’s right.

A quick aside and personal story...the actor playing the Party Guest Naysayer is named Christopher Evan Welch.  I briefly worked backstage at the Mark Taper Forum in Downtown Los Angeles and Christopher was one of the actors in a play when I was working there.  During one of the shows, while waiting for his time to go back on stage, he sat with me for a while and asked me questions about what I wanted to do in the business and where I was from, etc.  I was still pretty green.  I remembered him being very nice and authentic. This must have been around the time he worked on The Master because it was in early 2012. The next year I found out that he died suddenly of Cancer. Hoffman died not too long after.  Very sad.  The full scene is below with Welch and Hoffman:

Dodd and Peggy are upset now in their room after this fiasco.  Dodd writes furiously as Peggy speaks, putting words to their anger, completely flabbergasted by this mild rebuke. The whole group is bent out of shape, shaken by this challenge.  Freddie, next door, elects to take Rami Malek’s character (Clark) to the naysayer’s room to rough him up and they do (or Freddie does).  

The next day Dodd pretends to scold Freddie, but it’s obvious he’s glad he did it.  Again, Freddie being the id that is unrestrained and not held down by social convention in direct opposition to Dodd’s persona.  This is where something similar comes in comparable to Scientology, because Scientologists are known to go after naysayers, sometimes aggressively.    The group nows arrives at a large house in Philadelphia belonging to Laura Dern’s character, Helen.  Everyone gets out of the car like a big happy family visiting relatives and you really feel the warmth of their community here.  Different courses and talks are being held at the home.  Dodd’s daughter, Elizabeth, makes a move on Freddie during one of the talks and Freddie resists.  She is a redhead just like his past sweetheart Dorris.  In the previous scene, Freddie was ready to go find the naysayer and Clark seemed apprehensive until Elizabeth gave him a look to go.  She seems to like Freddie’s aggression.  Plus, perhaps, her father’s closeness with Freddie has something to do with this attraction. There are moments when Freddie’s face, with all it’s interesting lines, drifts to another place and the sound completely fades as Anderson holds the shot on Phoenix in closeup.  Anderson does tons of planning and research, but you get the feeling on the day during filming he’s constantly looking to catch moments of spontaneity and it seems this choice to hold on Phoenix during this particular moment is a good example.

Freddie continues to get completely wasted alone amongst the others, shown during a party as Lancaster sings and holds court.     The scene afterwards always makes me laugh really hard (no pun intended) when Peggy jerks Lancaster off in the sink while making him agree not to drink anymore of Freddie’s booze.  She continues to jerk and tells Lancaster if he’s going to cheat on her to not let her or anyone else she knows find out.  Lancaster eventually comes and doubles over as he lets out a few violent pleasurable yelps.  This is the closest to the animal side we see of Dodd, and this spirited release may point to the pressure build-up.        Peggy then walks into the dark room where Freddie is passed out and tells him there will be no more boozing. He reluctantly agrees upon waking. Yet the next scene (the next day) shows Freddie continuing to drink heavily on the sneak.  The Philadelphia Police show up at the house suddenly to arrest Dodd for running a medical school without a license.  Dodd gives himself up relatively calmly and in contrast Freddie fights wildly with several police who violently wrestle him to the ground and handcuff him.   Then there is a wonderful scene following, setting up the two protagonists’ contrast in temperament even more when Freddie is hauled in and put in the cell next to Dodd. Dodd is cooly standing still and calmly leaning on his bunk.  Freddie is abruptly being dragged in by four officers, and immediately starts DESTROYING his cell as Dodd just observes.  Dodd possibly feels this rage inside but has elected to consciously watch his rage rather than react as Freddie is.     Then the two get in a hilarious, childish yelling match after Dodd tries to explain to Freddie why he is how he is.  He tells Freddie the cause of his affliction is due to an implant from millions of years ago and that he is asleep (lining up with Scientology).  Freddie isn’t having it and says he’s just making it all up as he goes along, echoing what Dodd’s son said to Freddie on the porch right before the police showed.  Dodd yells back that no one likes Freddie except for him.  Both of the characters have told each other a truth.  Dodd then says he’s done with him and begins peeing in his cell toilet.  Yet Freddie has no pot to piss in because he’s destroyed his cell, including his toilet.  In fact, he may have also destroyed his relationship with Dodd, which would likely mean he will not have a pot to piss in for quite some time.  

During a quick arraignment scene with Dodd, the Judge orders him to repay the $11,000 he took and gives him this look that has so much character and makes me smile every time.  He cuts his eyes up in this humorously scolding way as he simultaneously hits the gavel.   With these great films and directors and actors, you learn that even the smallest scene is packed with so much richness and detail and not wasted!

Dodd is now at the dinner table with his family.  Freddie is still in jail.  The family open up to Dodd voicing their concerns regarding Freddie.  They want him gone.  Dodd says they must try and help Freddie get well, perhaps Dodd trying to find a way to keep him around. Now a wide shot outside of the Philadelphia house.  Dodd is sitting up on the porch with several others and there is a little girl on a tricycle in the foreground below the steps.  Freddie sheepishly approaches the house after being let out of jail like the prodigal son.  Dodd cooly embraces him.  The little girl runs up the steps into the house.  The two men then start wrestling like little boys in the yard, the two halves reconciled, laughing hysterically. 

Freddie Quell, Patient of The Cause

Freddie is now being “treated” and/or administered tests in front of about 30 people in the house to “cure” him. Dodd tells him to go from one end of the room to the other, to feel the wood wall and describe it, then walk over to the glass window, feel it and describe it too.  He continues this over and over.  

Paul Thomas Anderson is a filmmaker that walks in front of you and you have to catch up.  He does this by overloading your mind with scenes that just start and don’t have a lead-up.  You have to wait, then you find out.  The strength of the music, cinematography and acting lays so much subtext in front of you, it can keep you from following what’s actually happening...which, oddly, I feel is part of what great cinema is.  It’s a great distraction...a created atmosphere so thick that one can be swept away by it if they don’t watch out.  For example, the first time I watched this film I thought I had an idea what was happening, then I realized I was wrong, but I had already overthought in the wrong direction so far I became completely lost and just sat there asking myself even more wrong questions in my head about what was going on until the credits rolled.  I did the same thing in the same theater with Inherent Vice a few years later.  In the next scene there is another exercise where Freddie sits across from Clark and is not to react to anything he says, including personal insults.  He cannot react in any way (laugh or talk, etc) or Dodd will start over the exercise.  This reminds me of the Synanon Cult and their ”Attack Therapy”.  The cult used to be located in Santa Monica where the hotel Casa Del Mar is now and I’m sure Anderson had heard of them growing up in LA.  Clark immediately says “Dorris” and Freddie breaks right away, looking to Dodd knowing Dodd told Clark to say this.  Dodd replies, “Fail” and they have to start over.  In my opinion (and I think I’m right) Dodd wants Freddie to get to a point of non-reactivity, possibly closer to a state of “clear”.  All the individual’s insecurities are placed in the forefront consciousness (also why they record everything) and then the individual has to face these thoughts head-on until the past is dealt with and the former traumatic memories no longer abscond the self, opening the individual to infinity.  The individual must face the shadow in other words, becoming whole by “mastering it”...taming the reactive mind or “dragon” as mentioned in Dodd’s speech at the wedding.  Once the dragon is tamed then one can teach it to “roll over and play dead”. Am I being indoctrinated too??

Next, Peggy reads Freddie sexually explicit passages from a book in a Demme-like closeup and Freddie is not supposed to react or say anything.    Dodd excludes Freddie from eating lunch with the group and makes him stay inside the house continuing the exercises where he continually has to walk back and forth and feel the wood wall and window over and over again. Freddie is at a point now where he names the wall and window random things like “moss”, “rocks” and “barbed wire” as he touches them.  My guess is this is an exercise to break down his sense of language....or just break down his mind, because it’s obvious to Dodd he needs to be broken down.  I also think Dodd is using this as an experiment for his methods to see what “works”.   He watches from outside as Freddie, alone, continues to walk back and forth.  The camera pushes in on Dodd and his expression is one of curiosity as well as remorse, yet still barks out orders, “Back again!”.  

Shortly after, he explains to Freddie that it is a slow, hard process and Freddie looks mentally exhausted.  But, eventually, Freddie starts making progress and is becoming stronger.  Is it really working? Rami Malek (Clark) is so monotone and annoying here, it really shows Freddie has to be strong to take his insults during the exercises.  Peggy even shows compassion for Freddie at one point, one of his biggest naysayers throughout the film.   To shift to something technical for a second, I love how the flicker of the film looks in these closeups on Joaquin Phoenix!  You can really notice it in the 4K Version.  I also remember being very aware it was shot on film while watching the 70mm version at the Egyptian.  I know it’s very cool to like film, but I really do authentically enjoy the look of it.

Freddie now does the wall/window exercise with manic energy. There is one moment when Joaquin Phoenix is jumping up and down and almost hits his head on the chandelier’s metal point...and it looks as though Hoffman gets out of character for a sec to block Phoenix’s head that narrowly misses it. Freddie is back feeling the wall like he has hundreds of times, then goes over to the glass again, feels it and deeply says he can touch the neighbor’s plants...the stars...anything he wants... This is not a big moment magnified by a music cue or closeup, but Dodd says enthusiastically “End of application!” Freddie has succeeded in completing the exercise.  Perhaps Freddie has now transcended and touched infinity in Dodd’s opinion, realizing he can touch anything he wants (mental freedom), seeing the infinitude in something simple and ordinary like a glass window.  Perhaps he has gone through the iterations of the exercises enough to become “clear” (the word “clear” is never used in the film).   Dark, foreboding music now comes in during a shared hug between Lancaster and Freddie. In my opinion, the music foretells the bleakness of certainty Freddie is 100% cured.

In the next scene, Peggy announces that Dodd’s new book will be presented in Phoenix, Arizona.  After watching a few times, you realize that the work done with Freddie was most likely the catalyst for Dodd finishing the book after administering all the exercises.  The film obviously doesn’t come out and say this directly, but we know Freddie has inspired Dodd’s writing, his son earlier revealed that Dodd is just making it up as he goes along and this announcement about a new book comes directly after Freddie “successfully” completes the tests.  Also, is it a coincidence the city picked for the new book event is the last name of the actor playing Freddie, as well as the symbolic mythological bird that rises from the ashes after a rebirth?

Dodd and Freddie now are at a remote, desert location I assume is outside of Phoenix.  They dig up Dodd’s unpublished work that had been buried. Lancaster carries a gun and looks around to make sure no one’s watching or, maybe, if a magic event might manifest.  The score by Johnny Greenwood here is amazing.  Again, with the two characters in this scene there is a wonderful naivety regardless of the ridiculousness of digging up this essential manuscript for “The Cause”.  They are like two kid soldiers out in the great beyond full of wonder and purpose.  And the shirt Dodd is wearing in this scene is hilarious.  

“The Split Saber” is printed on the press.   Freddie takes pictures of Dodd, which are funny and sweet. I’ve included a pair of photos below that look to be influenced by photos taken of L. Ron Hubbard.

Everyone is gathered at the book event in Phoenix now.  Dodd sits in a side room and is visibly nervous.  There is a church vibe to the event.  The Master (Dodd) comes out on stage to cheers from the crowd.  Freddie sits in the middle listening intensely with a yearnful look on his face, perhaps hoping Dodd has a huge secret to reveal.  Unfortunately, Dodd just basically says some of the same stuff he’s said before and Freddie looks let down. Anderson’s closeups on Phoenix in shallow depth of field continue to be revealing and look magnificent! Freddie paces afterwards behind the stage, looking lost, angry and confused.  As you look at him, his pants, shirt and shoes are way too big.  Maybe because he had to borrow some decent clothes from Dodd.  Phoenix walks with Freddie’s unusual gait like a wounded clown.  A friend of The Cause from New York, Bill, who we’ve seen before, reveals to Freddie he thinks the book stinks.  Freddie asks Bill to go outside with him and just completely snaps and slaps Bill hard multiple times.  There is something comical about this.  It’s as if Freddie’s been holding this monster at bay and then just releases it all on poor ole Bill.  Freddie has a history of lashing out at naysayers of The Cause but I don’t believe this is the main reason for the attack.  I think Freddie now knows he is not “cured” or “clear” like previously thought.  I think the lack of answers he felt he was going to get from Dodd’s speech and book pushed him to this, knowing deep down Dodd doesn’t have all the answers like he expected.  In the following scene, Laura Dern’s character sweetly approaches Dodd sitting alone on stage after the event.  She confronts him about something he has changed in the book regarding the processing and seems very confused.  Dodd has a comically loud, insecure outburst displaying his lack of patience and also his unacceptance of criticism.  Obviously, Freddie and Lancaster both simultaneously react harshly when The Cause is questioned despite the contrasting prior exercises practicing non-reactivity.

Freddie Runs

Now Freddie, Lancaster, Clark and Elizabeth drive a car and a motorcycle out to a deserted lake bed.  On a personal note, I shot my latest short film’s biggest scene in a lake bed very similar...so similar I had to look it up online to see if it was the same one. It was not.  Anyway, I remember in Roger Ebert’s review he seemed to be perplexed by this scene and what it represented. I just think Dodd decided it would be a good idea to get away and blow off some steam with a motorcycle after the stressful book event. I personally really like this scene.  It’s funny, it’s visually interesting and there is a danger to it.   Dodd explains the game is to pick a point and then drive the motorcycle to that point. Dodd does this first.  Now it’s Freddie’s turn.  Freddie takes off and speeds away. Dodd does this funny thing in closeup where he puts his hand up to block the sun, watching Freddie ride, then goes to say something, stops himself, then eventually ends up yelling, “Freddie!!”  It’s something so small but Hoffman makes it so interesting and humorous and it’s hard to explain why.  In my Short Film, I start my scene at this similar location with my hand up looking in the distance, as a nod to this scene with Hoffman (3rd photo).

Freddie is long gone with the bike.  Dodd’s best friend has left him.  “No Other Love” by Joe Stafford comes in perfectly here.  It’s such a melancholy end to the scene and I just feel the song compliments it so eloquently.  It’s my favorite song of the film because of this and is in the trailer.  Freddie goes to the house of the girl he loved before going to the war.  He finds out Dorris is married now with kids and lives in Alabama.  He finds this out by talking to Dorris’ mother. Freddie missed his shot. The scene is slightly comical due to the dichotomy between the sweet, mannerly mother and Freddie’s pressing roughness and gnarled face.  It’s something I always notice and enjoy watching.  We are transported now to Freddie asleep alone (most likely drunk) in a movie theater.  You can hear Casper the Friendly Ghost in the background and see the flicker of the big screen on the sleeping Freddie and the empty seats around him.  There has to be a reason for the choice of Casper the Ghost, but I have no interesting theory why.   A theater concierge brings a phone to Freddie after waking him up.  It’s Dodd.  Either this is a supernatural moment in the film in which Dodd just happens to know where Freddie is (because they’re “tied”) or Freddie is being followed Scientology-style.  Freddie nor us know how Dodd knew he was there.  This made me think of an interview (somewhere) with PTA saying sometimes details in a film don’t have to make sense or have a definite answer.   Dodd asks Freddie to come to England where he currently has a school.  He says he misses Freddie and says he can cure him.  My guess is he’s had someone find and follow Freddie...unless the Casper the Ghost reference somehow hints at the supernatural spiritual “tie” Dodd mentions between him and Freddie and Dodd just “knew” he was there...but my theory connecting this may be too far of a stretch.  

On a Slow Boat to China...

Freddie is once again traveling on a boat, which has become a motif... Freddie adrift. We see the recognizable deep aqua water paired perfectly with Greenwood’s score.  The music, once again, adds so much here, producing a sense of  longing and beauty.

Freddie arrives at the school looking haggard and gaunt.  Jesse Plemons’ character (Dodd’s son) greets him with a wry smile of familiarity which soon turns to concern after examining Freddie’s appearance.  They walk down the burgeoning school hallway to Dodd.

Freddie enters with wild eyes to Dodd’s grand office.  Peggy sits off to the side and Dodd at his desk.  Freddie hands Dodd some Kool cigarettes and they hug.  Peggy immediately asks Freddie if he’s drunk, says he looks sick and says he’s not interested in getting better.  She storms out.  The two men share a smile after she leaves, but Dodd’s hands are tied.   It’s worth mentioning Amy Adams (as Peggy) was also nominated for an Oscar for her role and plays a sort of antagonist to Freddie.  Dodd’s book was not well received by close peers and perhaps this was due to Freddie’s influence and she saw this, maybe encouraging Dodd to cut ties because of Freddie’s negative influence and lack of dedication to The Cause.    You can see here Dodd loves Freddie very much.  This is scene is so good!   There is a lot of heart and power here in these closeups.  Dodd loves Freddie’s freedom. Freddie depends on Dodd for structure and meaning and a place to stay.  Dodd then says my favorite lines of the film,  “For if you figure a way to live without serving a master...any master...then let the rest of us know, will you?” With the risk of over-explaining, I’ll dive in with my thoughts... Dodd seems to think everyone has a Master...an obligation, a social role and something transcending mammalian daily life to quench existential and spiritual need.  But does Freddie have a Master?  I think Dodd thinks if anyone might know how to live without one then it would be Freddie.  Would this make Freddie “The Master” and not Dodd? Who is the prophet? Dodd calls him “a man navigating the seas, going wherever he pleases, paying no rent” and you realize Freddie’s steadfast gaze reveals a mastery of something...especially according to Dodd.   The culmination here of bringing to consciousness the pair of opposites in character form proves to be the thesis of the film.  This is not a film with a traditional story (perhaps that Ebert hoped to understand clearly) but a special situation between two men and how they fit together like puzzle pieces...two sides of the same coin...to the point where one might think it’s possible they did in fact know each another in a past life. Dodd mentions this upon meeting Freddie for the first time and Freddie agrees there is a mutual recognition.   Two inverses folding into one another creating something whole, for better or worse. Dodd goes on to explain that he finally figured out where they met in a previous lifetime and says if they meet again in the next life they will be sworn enemies.  Again, there is a lovely naivete here...and said with such earnestness.  And as mentioned before, it is easy to like Dodd because you believe that he believes what he says, even though we, the audience, are speculative.  Again, this is not a film about trying to figure out the legitimacy of a cult but about two men trying to navigate the world the best they can.  Dodd goes into great detail about their past life association.  In appearance, Dodd is so regal, reserved and groomed...so certain!   Freddie is mangled, gaunt and lost.    Dodd now begins to sing, which is funny and heart-breaking at the same time. It’s as if this is the best way he knows to express how he feels in the moment.   I remember the first time I watched this film in the Laemlle Theatre and there were a few laughs here.  I also remember watching this part when I was staying with my Dad and Stepmom one Christmas on HBO.  I just flipped through the channels and saw this scene and stopped to watch.  My Dad had never seen the film but watched this part with me and also chuckled a bit...not in a “that’s ridiculous” way, but in a concentrated way due to the intensity of Hoffman’s performance here. As the scene carries on, I again begin to wonder if these two really did meet in a previous life.  Or maybe it’s just so powerful because they both BELIEVE this past life was real, believing in a pre-destined reason for their association in this lifetime. 

Freddie has now left Dodd. He is out of the office walking alone in a row of trees leaving the school.  He goes to a bar, meets an English woman and they go to a room and have sex.  Both are fully naked in a very human way lit in natural light.  Two hominids in an animalistic act following the parting of Dodd who rejects the animal side for the fully divine.    He playfully tells the woman he has to ask her some questions and she can’t blink.  The processing scene is obviously still with Freddie and obviously PTA is aware of the power that scene held to call it back.  She plays along for a little bit but laughs quickly and breaks.   Now waltz music plays, circling back to Freddie on the beach where he was at at the beginning of the film, laying next to the sand woman in oedipal longing.  Did he dream all of this?? I have watched the film around 10 times and have never thought about this as much as I have this time around.  Of course, it’s ambiguous, but it could very well be true. And he did mention to Dodd in the England office he had a dream, but never got a chance to explain what the dream was.  Dodd then went on to talk about their past life association.    Anyway...the interpretation that I had come to previously was that Freddie has gone on this journey, but has ended right back where he started, meaning no amount of processing or methods to change his behavior can change his determinism.  He is what he is.  In fear of repeating this too much (which is never overtly stated in the film) humans cannot escape the fact that they are also of the animal kingdom.  I believe the first shot of Freddie in the film mimicing the monkey introduces this idea.  And Anderson doesn’t seem to care if the audience gets this first, coded, specific detail, but I believe there are enough clues throughout the film to make the animal comparisons to come to the same interpretation, as I’ve pointed out above multiple times to really bring my point home. Also, Freddie cannot escape how he may have suffered in the war, nor the trauma of his childhood, nor the loss of his sweetheart, Dorris, as he lays next to the breasts of the manufactured woman made of earth as the tide rolls in and out.  This is still with him in his memories, shaping his present, whether he deals with it or not.        And, more broadly speaking, perhaps all of this striving us humans engage in for self-mastery, and the constant modifications to ourselves to reach some pinnacle of “perfection”, we have built in our own minds is futile.  We just go in this big circle, this journey and we end up right where we started.  Are we “better”?  Are we different?  Are we “cured”?    Maybe.  Maybe not. 

To conclude, I’d like to mention that I’ve discovered pre-determination has loomed large in all three films I’ve written about on this page.  I’m not sure if it’s me or the films, but it has been the big picture idea I’ve come to on all three.  It also makes me think how cinema itself is made possible, by showing and shaping a world, often overtaking the individual characters’ will.  I believe this tells us something vital about our reality...cinema expressing transcendent ideas that can swallow up egoic identification, which is why films like this stick with you, pointing to something larger at play within the individual rather than solely the idea we have of ourselves.  

[the-domestication-of-the-dog]

The 9th Annual L.A.O.K Awards

I’m no artist, but I did love art class growing up, and let’s just say I’ve won a few coloring contests in my day (God did I live for coloring contests). Let’s also say that in high school I did a watercolor of one of my stepmom’s nature photographs, and let’s say that it ended up in the yearbook. That watercolor was the crowning achievement of my many classes with Ms. Warren, our high school art teacher. Let me paint a picture of Ms. Warren for you: short spiky blonde hair, this pattern Gap button down every day, long denim skirt, and the unfaltering attitude of someone who was born to be an artist but instead ended up teaching ungrateful teenagers who called things “gay” around you even though you were clearly a lesbian.

Months after completing that watercolor, I began work on acrylic painting I’ll admit was uninspired, but I still gave it my best. The composition featured a bird on a branch in narrow focus, so that everything in the background was blurry, and I had planned on giving it to my mom as a Mother’s Day present. The problem was that I had no idea how to paint something out of focus, and instead of doing any research or asking my teacher how to do that, I just dove right in and painted from memory and tried to make the lines really soft. Here is that painting, which still hangs in my mother’s bedroom to my everlasting shame.

If you look closely, you might recognize that I cut my losses on this one. That’s because it was at this point in my progress when I fully realized I was in over my head and decided to ask Ms. Warren for some tips. She came over to my desk, looked at the painting for a good 10 seconds, and finally uttered two sentences I’ll never forget: “Garrett, sometimes in art you hit, and sometimes you miss. Your watercolor was a hit.” And she was off to the next student.

That said, sometimes a year in movies is a hit, and sometimes it’s a miss. 2017 was a hit. Now on to the next desk:  

Best Film Eighth Grade The Favourite First Man Mary Queen of Scots Sicario: Day of the Soldado

First off, anyone who didn’t like Mary Queen of Scots can meet me in a laundry cottage halfway between England and Scotland in negative 460 years for another asskicking. What is there not to like about this movie? According to Ben Friday, extreme historical inaccuracy. Okay, if anyone comes up with any non-nerd reasons, please let me know. The second film in my top five that you’re going “Guh, what?” to: Sicario: Day of the Soldado, was actually very good, and it turns out everyone is wrong for thinking it’s not. Wow, definitive proof here (https://letterboxd.com/g_baby9000/film/sicario-day-of-the-soldado/). I also loved First Man’s slow burn. La La Land was a misstep for me from Damien Chazelle, but now I’m right back on the Chazelle train. Bravo for making an unconventional, understated historical biopic, which drives through its seeming monotony with an ever building tension that keeps it compelling from start to finish. Then there’s The Favourite, which continues Yorgos Lanthimos’s reign over this annual list. I would have loved to have been a fly on the wall when the dictum came down to the Fox marketing department that they were going to go wide with this movie. 

And the Layokie goes to… Eighth Grade

In the lead up to Eighth Grade I thought two things: 1) I hope it’s not that good because Bo Burnham’s age and career make me feel inadequate, and 2) It probably isn’t that good because everyone’s talking about how good it is. In LA, if you don’t see a movie until after its release date you are a total loser, and I went even a few weeks after that, so it was already sufficiently hyped. I honestly didn’t expect much from it, and it totally blew me away with it’s humor and heartwarmingness in a way that no other film matched in 2018. I’ll talk more about this great film below.

Next Five The Ballad of Buster Scruggs Cold War First Reformed Roma Shoplifters

Also Great Avengers: Infinity War Beautiful Boy Don’t Worry, He Won’t Get Far on Foot. Outlaw King The Rider A Star is Born Vice (Why does everyone hate Vice? My thoughts on Vice.)

Best Original Screenplay The Ballad of Buster Scruggs - Joel Coen & Ethan Coen (1/6 adapted) Shoplifters - Hirokazu Koreeda Eighth Grade - Bo Burnham The Favourite - Deborah Davis and Tony McNamara First Reformed - Paul Schrader

And the Layokie goes to… Eighth Grade

Not to retread the obvious, but I think about Eighth Grade and its screenplay in much the same way as Avatar. Predictability and the use of stock plotting does not equate to bad writing, and even if you know exactly what’s going to happen (Kayla must end up with Gabe) it can be done in such a satisfying way that the story still sings (which is the reason why the same story lines continue to be retread). From early on, we can guess pretty much what Kayla’s arc will be, but the fact that it plays out in just the right way, so that you can’t really imagine it had the potential to be anything else, is what makes it such a high mark in screenwriting. Getting to this point in a screenplay is very difficult, because it’s usually only after figuring out the 50 paths not to go down that you realize the obviously correct one. When it finally clicks which Scene B should follow Scene A, the screenwriter too realizes that it couldn’t have been any other way, it just takes a lot of work to get there. I put Eighth Grade on for my second viewing while building an IKEA dresser a week or two ago, and it filled me with such glee. I was doubled over with laughter more than once and had to watch some scenes five times before I could move on.

Best Adapted Screenplay Annihilation - Alex Garland Beautiful Boy - Luke Davies and Felix van Groeningen Leave No Trace - Debra Granik & Anne Rosellini Mary Queen of Scots - Beau Willimon Sicario: Day of the Soldado - Taylor Sheridan

And the Layokie goes to… Mary Queen of Scots

Like I said above, I don’t really know anything about the historicity of this movie. Apparently the rabble-rousing preacher that everyone was supposed to hate actually was cool and founded my own church’s denomination? Anyway, I loved the way this was paced, only parsing out the information you absolutely needed and trusting you to catch up through its many jumps in time, expertly illustrated via cutbacks to Queen Elizabeth. The characters were complex (especially Elizabeth) and the dialogue was snappy. There’s nothing better than seeing someone in an authority position take someone’s shit just long enough before thoroughly dressing them down at the exact appropriate time, and Mary gets many such chances to shine thusly.

Best Director Damien Chazelle - First Man Alfonso Cuarón - Roma Yorgos Lanthimos - The Favourite Pawel Pawlikowski - Cold War Josie Rourke - Mary Queen of Scots

And the Layokie goes to… Alfonso Cuarón

Was tempted after another viewing to switch this to Damien Chazelle, but I had already written the following paragraph, and I’m too lazy to redo it. From the opening shot of Roma, two things are clear: you’re in the hands of a great director, and it’s a damn good thing you’re in a theater because it’s gonna be a long, slow ride. If you watched this on Netflix from start to finish without looking at your phone, I salute you (and I’ll say the same for The Ballad of Buster Scruggs). If you haven’t seen it on the big screen and live in LA, it’s currently playing at the Landmark and Vista, so check it out. Also how insane is it that Cuaron will likely win the Oscar in this category this year, making Mexican directors winners in this category 5 out of the last 6 years? Specifically, Cuaron, Alejandro González Iñárritu, and Guillermo del Toro, who were already known as the Three Amigos long before going on this stretch?

Honorable Mention Ari Aster - Hereditary Alex Garland - Annihilation Paul Schrader - First Reformed Stefano Sollima - Sicario: Day of the Soldado

Best Actress Emily Blunt - Mary Poppins Returns Lady Gaga - A Star is Born Joanna Kulig - Cold War Thomasin McKenzie - Leave No Trace Soarise Ronan - Mary Queen of Scots

And the Layokie goes to… Soarise Ronan

I’ve talked about this before, but it seems so many years I struggle to come up with a good list of best actresses (while supporting actress overflows with abundance). I had wondered if I was just a misogynist, but it became clear to me over time that there just weren’t nearly as many films with females in starring roles, let along female protagonists. However, not only did I have trouble paring down my favorites to five this year, there were many more female-driven films I could have drawn from. I really felt like this was a year for women in film, and it was great. The idea that women/minority leads can’t drive box office success seems finally to be a thing of the past, and it’s about damn time. This all probably comes across as liberal posturing, but if you know me well you’ll understand it’s really born from my own selfishness. First, I don’t want special treatment over anyone because I highly value fairness, and the reason highly value fairness is mainly because I don’t want anyone else to get special treatment over me. Second, I don’t care if a story is about women, black people, Asian people, aliens, some fish, or a fuckin’ toaster, a good story is a good story, and I don’t want to miss out one because some marketing executive wants to save his ass. Not once have I ever been not able to get into a film because the protagonist was a different age/race/gender than me. Even though some of them aren’t on this list, Annihilation, Ocean’s 8, Thoroughbreds, Suspiria, Roma, The Favourite, Widows, and Mary Queen of Scots not only had female leads, but fully female-centric casts, and all were either da bomb, fairly da bomb, or da bomb-ish.

Honorable Mention Yalitza Aparicio - Roma Claire Foy - Unsane Claire Foy - The Girl with the Dragon Tattoo

Best Supporting Actress Olivia Colman - The Favourite Tyne Daly - The Ballad of Buster Scruggs Cynthia Erivo - Bad Times at the El Royale Nicole Kidman - Boy Erased Regina King - If Beale Street Could Talk

And the Layokie goes to… Tyne Daly

Pretty thrilled TBoBS is on Netflix, because I recently went back just to watch my favorite two segments: “The Ballad of Buster Scruggs” and “The Mortal Remains.” Still not really sure what “The Mortal Remains” is all about ‘cause I’m not that smart about that kind of stuff, but damn did all five of them chew up the scenery, and none more so than Tyne Daly.

Honorable Mention Zoe Kazan - The Ballad of Buster Scruggs Marina de Tavira - Roma Rachel Weisz - The Favourite

Best Actor Ethan Hawke - First Reformed Nicolas Cage - Mandy Ryan Gosling - First Man Viggo Mortenson - Green Book Christian Bale - Vice

And the Layokie goes to… Christian Bale

I didn’t hate Vice, but it seems like everyone else did. I also didn’t love The Big Short, but it also seems like everyone else did, somehow causing the people who loved The Big Short to hate the Vice. But I don’t think you can deny Christian Bale on this one, or at least I don’t think you can triumph Gary Oldman in The Final Hour or whatever it was called, but deny Christian Bale in Vice. (Scroll down to see that I didn’t triumph Gary Oldman last year, even though he might have deserved it.)

Honorable Mention Mahershala Ali - Green Book Bradley Cooper - A Star is Born Joaquin Phoenix - Don’t Worry, He Won’t Get Far on Foot

Best Supporting Actor Robert Pattinson - Damsel Linus Roache - Mandy Timothée Chalamet - Beautiful Boy Harry Melling - The Ballad of Buster Scruggs John Malkovich - Bird Box

And the Layokie goes to… Timothée Chalamet

It’s about this time that I get tired of trying to come up with something to write for everyone of these, so I’ll take my comments of the air. Timothée Chalamet was great!

Honorable Mention Jake Ryan - Eighth Grade

Best Documentary The Dawn Wall Minding the Gap RBG Three Identical Strangers Won’t You Be My Neighbor?

Syeeeke. Did I say I was done coming up with things to write? ‘Cause I got lots to say about this. First let’s get it out of the way. Free Solo is a mediocre documentary about some excellent subject matter. Jimmy Chin made another one of my favorite documentaries, Meru, that definitely did not get the acclaim it deserved, so if he finds that acclaim with Free Solo, then super. And if it wins the Oscar, I won’t be sad about it. What I will be sad about, is that another documentary, also about climbing El Capitan, The Dawn Wall, got totally overshadowed be Free Solo. I watched The Dawn Wall first, and I think that may have something to do with shaping how I felt about Free Solo, but The Dawn Wall had a better, more interesting, more likable protagonist, with a more interesting story to tell about himself and his climbing attempt and way better climbing material! Now, there’s no denying that climbing the full height of El Capitan without a rope is riveting, awe-inspiring, and completely insane, and the 5-10 minutes of Free Solo that actually cover that feat are impossible to top, but if for the other 90 minutes (both films are exactly 1:40) you’d like to watch a doc about climbing El Capitan, it has to be The Dawn Wall. If you’d like those 90 minutes to instead be about a whiny guy who lives in van, then by all means, champion Free Solo. I don’t want to say too much more about why I think it’s better, because I want people to see it and experience it. Hopefully it starts streaming soon. (And if you did see and like Free Solo, please check out Meru, which is currently streaming on Netflix.) The other docs were also great, and what a shame that Won’t You Be My Neighbor? didn’t get nominated for an Oscar, which made me cry evertim.

And the Layokie goes to… Duh, The Dawn Wall -- (See how the wall below makes Alex Honnold’s Free Rider route look like the freaking Aggro Crag from Nickelodeon’s GUTS?)

Best Foreign Film I only saw: Border Capernaum Cold War Roma Shoplifters

And the Layokie goes to… Shoplifters

Now, as always, on to the fun stuff:

Refuse to Watch Any more Clint Eastwood Movies

The 15:17 to Paris was truly a straw-that-broke-the-camel’s-back-breakingly bad movie. Literally worse acting and writing than some student films I’ve seen. And I’m not talking about the Student Academy Awards, I’m talking about the ones I watched from my own peers in my own undergrad film classes. And I’m not talking about some USC or UCLA film classes, I’m talking about University of Oklahoma film classes, where they actively did not give us film equipment to use, because we were a studies program and not a production program, even though no one there wanted to do anything but be writer/directors, and they seemed to resent us all for that fact so we had an edit bay in like an old closet or something and it was on one of the original iMacs with the hockey puck mouse and everything. The last tolerable Clint Eastwood move was Mystic River don’t @ me.

Great in Everything Award Joaquin Phoenix - You Were Never Really Here, Don’t Worry, He Won’t Get Far on Foot, The Sisters Brothers, (and when do we get to see Mary Magdalene??) Cynthia Erivo - Bad Times at the El Royale, Widows

Best Lesbian Rachel Weisz

Deserves Discussion Damsel

Hmm, a New Wave Anit-Western starring Robert Pattinson with folk dancing and real-life weirdo non-actors, an obvious grand slam slam dunk, right? Wrong. Boy do I wish I had known the Zellner Brothers were also the ones behind Kumiko the Treasure Hunter before going into this. I could have at least prepared myself for all the meandering. I don’t really mind meandering if it serves a story/theme, say like in another seminal film in the genre, Meek’s Cutoff, but you can miss me wit dat meandering for meandering’s sake. The script for Damsel is a great example of an antithesis for what made Eighth Grade so great. The meandering here is not only in the physical sense, but also in the story sense, where no scene absolutely had to happen, and nothing in particular means anything. You would think that a character strapping dynamite to themselves and walking a few miles would fill a theater with Hitchcockian dread and similarly provide a Hitchcockian catharsis when that character eventually blows up. Instead, it’s just one more in a long line of things happening that never add up to what we would call a “story.” Like in Kumiko the Treasure Hunter, the interesting parts that never make up a whole are in themselves still interesting, and I’ll forever be grateful for that film’s gift of the discovery of the Yamasuki Singers. In the same way, I’ll forever be grateful to Damsel’s opening credits sequence, the chance for another stellar character performance from R Patt, the incredible mise-en-scène, and for giving Mia Wasikowska another opportunity to put a mediocre film on her back and carry it to the finish line (what if some day she starred in a good movie??). Perhaps my harshest criticism of Damsel is also one of my proudest film-watching moments. The film’s true lead isn’t even featured on the poster; it’s a character named Parson Henry, portrayed by David Zellner. About 3/4 of the way in, I thought to myself, this actor is so absolutely lacking of anything you could call charisma, I bet it’s the director and he cast himself in the lead role, and you know what? It was. *sunglasses emoji*

Best Song All of the Stars

Best Score Tie: First Man and Isle of Dogs

Many LOLs Avengers: Infinity War Eighth Grade The Favourite Mandy

Most Surreal Movie-Watching Moment When me and Becca and Joe and Natalie went to see Rampage kind of as a joke when we had our Moviepasses so it was like whatev, and the theater was PACKED even though it was a week or two after it came out, and at one point The Rock is going in for a pound with the big white gorilla that he trained, and the gorilla fakes the pound, then flips off The Rock and starts gorilla-laughing at its gorilla antics, and the audience went. fucking. NUTS. Like it was the purest moment of comedy that ever existed. It was a Sullivan’s Travels-level eye-opener for me. Give the dumb galoots what they want, and what they want, is to see a gorilla give The Rock the finger.

Most Non-Fun Fun Movie Ready Player One

Please Stop Giving Melissa McCarthy’s husband bit parts in Melissa McCarthy movies (didn’t hate The Happytime Murders btw)

The Something Award Sorry to Bother You

The Nothing Award Crazy Rich Asians

Best Scenes Annihilation - Watching the camcorder footage Aquaman - Escaping the trench creatures Bad Times at the El Royale - Any time Darlene sings The Ballad of Buster Scruggs - All of “The Mortal Remains,” which was basically a single-scene segment Eighth Grade - Chicken nugget dinner The Favourite - The dance (putting my fingertips to my mouth then and then giving it a chef’s kiss: “MWAH”) First Man - the m-er f-ing moon landing (damn that was good, had me on the edge of my seat in both viewings) Free Solo - Despite what I said above, for a stand-alone scene, you cannot beat the final climb Incredibles 2 - Jack Jack/racoon fight The Girl in the Spider’s Web - the motorcycle escape Mandy - So many, but it has to be the Cheddar Goblin Mission Impossible: Fallout - The bathroom fight The Old Man & the Gun - When John and Forrest meet Outlaw King - When they finally(!) had sex A Quiet Place - The very beginning when the whole theater went silent Roma - Fermin’s naked martial arts, Fermin’s denial (so sad!), and the fire A Star is Born - v basic of me, but you cannot deny the first “Shallow�� performance The Strangers: Prey at Night - The pool scene Upgrade - The first upgraded fight Won’t You Be My Neighbor? - A lot of them, but it has to be “It’s You I Like” at the end

Best Visuals Annihilation Cold War Mary Poppins Returns The Ritual

Worst Movie of the Year

The 15:17 to Paris (turnoff)

A Wrinkle in Time (walkout)

The Nun

Fireworks

The Meg

Winchester

Rampage

Jurassic World: Fallen Kingdom

Hold the Dark

Fahrenheit 451

Sadly Missed/Haven't’ Watched Yet At Eternity’s Gate Blaze Burning Destroyer The Kindergarten Teacher Lean on Pete Madeline’s Madeline Mid90s Never Look Away Private Life Support the Girls We the Animals The Wife

Absent on Purpose BlacKkKlansman Black Panther Blindspotting Bohemian Rhapsody

[365footballorg-blog]

Armchair Analyst: One big Q for each of the Conference Championship teams

November 12, 201812:19PM EST

We’re 14 days away from the first leg of the respective Conference Championship series, which mean nothing yet falls under the category of “urgent.” That said, film study and tactical prep has already started in New Jersey and Georgia, and Portland and KC. There will be down time, but that will be followed by a week-and-a-half of work.

Each team will have a dual focus. Focus No. 1: Sharpening up the things you already do – making sure passing patterns are well drilled, and off-the-ball movement is clear and sharp, and defensive responsibilities are clear. Focus No. 2: Preparing for what your opponent’s going to throw at you. For Peter Vermes, pulling apart the Timbers’ low block is a different sort of proposition than surviving RSL’s street-ball attack, you know?

With that in mind, here’s one big question for each of the four teams remaining in the hunt for MLS Cup.

Atlanta United

Can they handle RBNY’s press and physicality?

This column is mostly supposed to be a question for each of these teams, but let’s not mince words: This is the question for Atlanta United, given how easily and thoroughly RBNY have handled them over the past two years.

The culmination (to this point, anyway), came at the end of September when the Five Stripes went up to Harrison and got both played and kicked off the pitch in a dispiriting 2-0 loss – one that seemed to stick with them for a month. You could certainly say that they weren’t the same team in October that they’d been in the six months prior to that.

And guess what? They’re still not the same team. And that actually might not be a bad thing because this new sit-and-counter-and-get-into-the-occasional-rock-fight version of Atlanta United seem better equipped to give RBNY fits. Look at what they did to NYCFC on Sunday:

It’s all pretty nondescript and even until you get down to total passes, passing accuracy, possession and duels won, and that tells the story. The Five Stripes didn’t try to play through NYCFC (another very good pressing team) this series; they invited the Cityzens upfield and then blitzed into the space behind them. They didn’t stretch their own backline; they dared David Villa & Co. to bust down the door. And in the process, they won the lion’s share of duels – 50/50s, essentially – all over the field.

This is probably what they should do against the Red Bulls. Maybe I’ll go a step further: This probably what they have to do against the Red Bulls, given how lopsided the match-ups between the teams have been so far.

And bear this in mind: RBNY don’t struggle against pressing teams, and they destroy possession teams. Know what still troubles them every time they see it, though? The bunker. 

New York Red Bulls

Will the attack keep sharing the load?

Over the past four years I’ve harped on the fact that Bradley Wright-Phillips hasn’t been quite good enough to carry the Red Bulls through the playoffs on his own, and left unsaid has been the obvious subtext: If the rest of the attack had showed up, he wouldn’t have been asked to carry the Red Bulls through the playoffs on his own.

Through one series, 2018 has been different so far. Columbus made a concerted effort to make the other guys do the work and held BWP to a single chance across 180 minutes. They cut him out of the game, and that meant the rest of RBNY would have to answer the “can we actually put the ball in the net?” question.

On Sunday, they did so in the affirmative. First it was Alex Muyl redirecting an Aaron Long shot off a set piece, and then it was Myul (along with just about everyone else on the field, including BWP) setting up the first of Daniel Royer’s two on the night. This is just a spectacular team goal:

Muyl and Royer, and hopefully Kaku and maybe Derrick Etienne Jr. will all have to keep up something close to their recent output for the Red Bulls to get past Atlanta. Partly because we’ve seen this movie before, and partly because BWP is actually in a bit of a dry spell – he’s scored in just two of his last nine appearances, and has only one goal in his last six games dating back to mid-September.

It’s a bad time for a slump, but a good time for teammates to get your back.

Portland Timbers

Are they going to have to open it up at any point?

The Timbers have Diego Valeri and Diego Chara, two of the greatest players in league history at their respective positions. They have, in Sebastian Blanco and Jeremy Ebobisse, two starting attackers capable of making a difference in the playoffs. They have a solid if unspectacular backline and ‘keeper. They have Dairon Asprilla off the bench, and it turns out that if it’s November, Dairon Asprilla off the bench can win you a game or two.

They also have a thing. Their thing is that they don’t really want that much of the ball and are perfectly content to absorb and counter. They tried to be different earlier in the season, and it didn’t work. So they went back to their thing in early October, and they’ve looked like one of the best teams in the league ever since.

Here’s the thing: That thing doesn’t work if they have to open up and chase the result at all. You don’t bunker your way to a come-from-behind victory unless your opponent forgets how to soccer.

This, from two months ago, is what it looked like the last time the Timbers had to chase a game:

Ooops.

I expect Gio Savarese to play this one slow and steady at home. The series can’t be won at Providence Park, but it can for damn sure be lost in a big hurry. And while SKC haven’t been great defensively, their goal at Rio Tinto a week ago is a reminder that they still remember where and when and how to press when they absolutely have to.

Sporting KC

Can they defend up the gut?

I feel very much like this is a question submitted from bizarro world, because we’re living in a timeline where SKC don’t really seem to know how to defend. This is weird.

Sunday was also weird, because they came into the game with a very nice road draw, and then went up 2-0 early. At that point everyone in the world – except, apparently, for the 11 guys in Claret and Cobalt on the field and probably a few on the bench – thought the series was done, dusted and consigned to the trash bin of history.

But credit to RSL: They would not stop going in. And no credit to SKC for never really coming up with a plan to just make them quit it.

That is way, way way way too easy. Throughout the entire second half SKC were unable to navigate the tension between staying compact and getting pressure to the ball, and so they became stretched and ragged, and forced into copious amounts of emergency defense. It is a borderline miracle they did not concede a third goal over the final 15 minutes, and the final scoreline truly did flatter the hosts.

They break down when teams go right up the gut. Valeri, Blanco, Chara, Ebobisse… let them turn inside and start combining, and it gets ugly quick for Sporting.

Series: 

Topics: 

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Armchair Analyst: One big Q for each of the Conference Championship teams was originally published on 365 Football

[furederiko]

After a whole month* of absence, the Random-News-Digest has returned! It's the 1st of the month and also for the year 2017. *) Technically, it's around 2 months, since my last R-N-D was published on December 12th, 2016.

NOTE: Starting with this post, expect to see several news to be put in a joint category. For example, all things related to Marvel Studios will be put as one section, while Marvel TV's shows will be a separate one. Occasionally, some will show up as a standalone though, it all depends on the situations and conditions. It's an attempt to make the post more... shorter and concised. That's the intention, at least. LOL.

Disney Live Action

Back in the 90s, the classic animated movie "Beauty and the Beast" had an original song by the same name, that became a huge memorable hit. With combination of powerful vocals by then-rising star Celine Dion, and well-known soul singer Peabo Bryson, the duet took the world by storm. I doubt there's even anyone who have never heard of this song. Which is why, it's a huge task for the current generation of singers to deliver this song with the same amount of heft, as part of this year's live action remake.

And that privilege has been given to Arianna Grande and John Legend, while Dion herself contributed a new solo song "How Does a Moment Last Forever" to the movie's soundtrack. Walt Disney Pictures officially released an audio-only VEVO for this 2017's version duet, and if you have ever had any doubts about the quality of both Grande and Oscar Winner Legend, then well... you can stop worrying. I admit, they don't sound like Dion and Bryson. But you know what? A good singer needs to make a song their own, and in that regard, Grande and Legend have succeeded. All the while, the classic vibe and feel of the romantic song remains in tact. Uhmm... scratch that, they also made it sound... modern too. Sure, the music feels oddly like... karaoke, but when Legend's voice came in I felt the exact same shivers I had when I listened to the original for the first time.

You can also listen to the song, while it's serenading the movie's Final Trailer. Yep, Disney has released one last marketing push for the movie, although in my opinion it's really NOT necessary. And trust me, I advise you (especially those who have NEVER seen the animated version) to NOT watch it. Because well... it practically spoiled like 80% of what's going to happen in it *sigh*. Thankfully, aside from a few seconds of Emma Watson singing "Something There", none of the musical numbers have been used in the trailers. Which is perfectly GOOD, because I prefer hearing them directly in the theatres. Okaaaaay... I might have spoken a little TOO SOON. The Golden Globe TV spot has already featured Watson's version of her Belle's solo number by the same title... "Belle". Dang it Disney, STOP IT... just STOP! I know it's completely my fault for running into that video, but pleeeaseee! Keep everything else a surprise, okay?! *sigh*

DC Films

In case you've been living under a rock (which is perfectly cool, by the way, it's your choice), or have been removed from modern civilizations for the past few weeks (which is... also cool, because sometimes a retreat to the wilderness IS necessary), actor Ben Affleck has stepped back from directing the next Batman solo movie. Yes, eventhough I believe that's part of the deal when he jumped in to play grumpy murderous Bruce Wayne for DC Films. Talking to Variety, Affleck stated that he chose to focus on the lead actor role and handed over the directorial duty to someone else. Why? Is it because the costume will be too uncomfortable for him to work both side? That's a possibility. Perhaps he went a little anxious after his much-buzzed movie "Live by Night" failed to please... practically everyone? Or is it because, there's a brewing storm behind "Justice League" that gave him... cold feet? No matter the reason behind it, I think this is a huge loss for a potentially-great movie.

Then again, not just the studio (as proven by them trusting Zack Snyder and David Ayer over and over again), apparently the fans are more desperate and concerned about having the movie MADE, instead of having the right people come in to ensure its QUALITY. Proof? Immediately after the news went large, many fansites wasted no time to speculate and fan-cast their favorite directors, whom they hope will replace Affleck in the directorial chair. Although I bet the seat is still warm, Affleck's name faded from everyone's head so quickly! My condolences to him for experiencing what Tim Miller had with the second "Deadpool" movie. So yeah, one thing for sure, that tentatively titled "The Batman" WILL definitely see the light of day. Right now, Warner Bros is actively looking for Affleck's replacement, assuming they want to be on time for their schedule to release the movie next year (alongside James Wan's "Aquaman" and Margot Robbie's "Gotham City Siren"), of course.

Meanwhile, the same thing isn't happening with the other movie, "The Flash". After two consecutive directors walked out due to 'creative differences', WB has decided to do a page-one rewrite of the script, which if I recall correctly was done by Phil Lord and Christopher Miller. Who, by the way, were initially considered to direct the movie too, before moving on to "Han Solo: A Star Wars Story" at Disney. Joby Harold, a guy whose name I'm NOT familiar with has been tasked to do this ordea... er, I mean responsibility. This means, highly likely it will NOT be released in 2018 as previously planned. Why? Not only things will be restarted from scratch, lead actor Ezra Miller has a commitment to star in the second installment of "Fantastic Beast and Where to Find Them", and the production is expected to begin around July. As I've said in November, the earliest for him to start working in this movie is Fall 2017 for a release date of Winter 2018. But that was when there's an existing script ready to be filmed.

What's happening with "The Batman", "The Flash", and the wise delay of "Justice League 2" (should we even be surprised? They kept releasing more uninspiring still from the movie) only proves that WB has yet managed to have proper footings with their DC adaptations. Let's just hope that those are just minor necessary setbacks from the DC Universe in order to move smoothly in the future. After all, "Green Lantern Corps" has hired Justin Rhodes and everyone's favorite person David Goyer to write the screenplay, while "Shazam" and "Black Adam" have been reported to be made into separate movies to accommodate more of Dwayne Johnson's star-power.

LEGO Movies

Feel free to call this shameless bragging, but I trust my gut instinct. Many times it has proven to be correct. A recent good example of this, is my genuine hype as soon as I saw the first trailer for "The LEGO Batman Movie". Ignoring the obvious fact that I always have a soft spot for LEGO's animated adaptation, I had this feeling that the movie will be fantastic. Which was, a complete opposite to when I saw any (yes, all) of the live action DC Films so far (don't get me wrong, 'DC Films' obviously refers to ones released prior to Nolan's trilogy). Guess what? Critics are loving the movie too!

The Guardian called it "a relentlessly funny superhero movie". Variety called it as "kicky, bedazzling, and super-fun". Den of Geek said that it's "a second straight victory for the Lego franchise on the big screen", and similar to Polygon, likened it to the famous "The Dark Knight". IGN gave it an 8,5 out of 10 score. You can check out many other sites to read their thoughts on the movie. As of writing, its RottenTomatoes' accumulated score (remember, the site only aggregates score from various places, not rates their own) is sitting at a comfy 98% out of 40 critics. Something that neither "Batman v. Superman: Dawn of Justice" and "Suicide Squad" were able to accomplish. Nope, both started out under 50%!!! Of course, this score will fluctuate in the coming days and weeks, and it is the final score that will actually count more. But really, this IS a great sign.

You know what is the lesson that I hope WB would learn from this success? HIRE THE RIGHT MAN for the job and RESPECT the source material! Stop relying on snobbish arrogant hacks like Zack Snyder, David Ayer, and the likes who wants to have their way without honoring the comics. Hire the right people and DC Films will no doubt be equally a success. And now that I think about it... on a lesser note, why not focus on animations instead? Back during the Bruce Timm era, their DC properties have been nailing the animated superhero market for years. Completely towering over the competitor Marvel by a huge margin. Yet they somehow decided to focus on the dark, gritty, and gloomy live action adaptations (thanks to New 52), with ripple effects that ran through many mediums, including the DC animation movies (starting with "Justice League: Flashpoint"). That's when DC direct-to-videos animated movies became... dull and boring as well. "The LEGO Batman Movie" is a return to the fun escapades, an easy proof of what DC should've done. This movie, alongside the carefree "Justice League: Action" series are exactly what WB needs for their DC properties! Assuming they want to win over fans of all ages, of course.

Unfortunately, I don't think I'm going to be able to watch this movie at the theatres. With the current financial condition, I will need to wait until the home video is released. But hearing positive praises and recommendations from critics is already enough to make me happy. As in, FINALLY, there's a theatrical DC movie that's worth-watching after "The Dark Knight". If you're not convinced just yet, check out the 'technical' "Behind the Brick" featurette for the movie, or the fun "Gotham Cribs" specially hosted by Batman and his... uhm, roommate Bruce Wayne (who gives some shirtless fanservice too... Wooooo!!! XD). Want a song instead? Check out the official LEGO Batman theme, in the tune of "Everything is Awesome" from "The LEGO Movie". Yes, even if you're not a DC fan, according to critics, if you loved "The LEGO Movie" then high chance you're going to love this movie as well!

To complement the movie's success... there's also a recent news regarding "The LEGO Ninjago Movie". Yep, a title that will be released this year, the one I've completely forgotten about. Just yesterday, USA Today exclusively shared sneak peaks of the movie, and well it looked... uhmm... weird. I didn't have issues when I first saw the image of Garmadon, or Sensei Wu. But when I saw the Ninja, I seriously gasped. Honestly? I'm NOT too keen on how they look... different compared to the TV ones. WHY the need to change their hairstyle? To make more merchandise? Also, do we need big name actors to bring them to life? What's the problem of using the exact voice cast of the TV series? Do their their names not... selling enough? I have to say, as a devoted fans of the franchise, this reveal somewhat annoyed me.

Yes. The report also confirmed the voice cast. I have to use the word 'confirmed' because apparently, these names have already been leaked/revealed back in June 2016. Courtesy of fansite Brickset, who stumbled upon the names during the Licensing Expo 2016. I'm genuinely surprised that it went off radar that easily, particularly mine, who had seen all six seasons of the show and can't wait to see more. Anyway, the cast consists of Jackie Chan as Sensei Wu, and the newly announced Justin Theroux as Garmadon the big bad. The ever talented Michael Peña will voice Kai, Kumail Nanjiani as Jay, Zach Woods as Zane, and Fred Armisen as Cole. Garmadon's son (assuming the movie follows the plot of the series) Lloyd is confirmed to be the lead protagonist, and will be voiced by Dave Franco. While Abbi Jacobson is set to voice the odd-haired Nya, who (once again, assuming it's similar to the series) is Kai's sister. While admittedly these are great names, somehow I feel like some of them are... voicing the wrong character. For example, I figure Peña should be the one doing Cole (considering many fans have likened the character as hispanic), while Franco's playful voice would be better as Jay or even Kai instead of Lloyd. Jackie Chan is a terrific actor, but him as Wu? Hmmm....

But that's not all that concerns me. It's what Franco said that made me worried. "They may be really cool as ninjas and the Ninjago world adores them, but at school they’re the geeks and nerds who are ignored.". At... SCHOOL? And NERDS? Huh? People who are clueless about the franchise might find this to be 'good', but I honestly wonder if fans would be pleased with these changes. I know I'm not *sigh*. Oh well, I can only hope this movie will not prevent the 7th season from happening, because I'm more looking forward to that one. "The LEGO Ninjago Movie" is set to arrive on September 22nd, 2017.

Marvel Studios

It's Super Bowl time of the year, a time where people came or tune in TV for sport, and movie studios used it to tag along for promotions. True to the earlier report, Disney released two new trailers for their upcoming movies. Everyone's easy guess, was that "Guardians of the Galaxy Vol. 2" is one of that, considering it's among the House of Mouse's first Summer movie of the year. And well, that was correct, with the other one belonged to "Pirates of the Carribean 5". Not long after USA Today released several new official images (which looked really good, especially Mantis), Disney officially released the Super Bowl trailer online.

It became the most watched and talked about trailer throughout the game, and true to director James Gunn's tease, fans have gotten their first look of Elizabeth Debicki's villainous Ayesha. To be honest, I never thought it's really that hard to imagine how she would look. Just photoshop Debicki with a golden skin, and you have Ayesha! Surprisingly though, she looked... a little different than the one shown in the official LEGO tie-in sets. Perhaps because in the trailer, she's covering her long wavy golden locks in that royal helme... er, tiara thingy? That might be the case. Don't believe me? Go ahead and check out the trailer's breakdown, courtesy of SlashFilm. Kurt Russel's Ego the Living Planet is the only character we have yet seen so far. Perhaps Marvel Studios is intent on keeping him longer in the dark to avoid... giving away too much of the story?

Marvel Studios also released a new official poster to accompany the trailer, and well... it also looked really good. Brilliantly artistic, I should say, because it works well with the 'Volume 2' title and also Chris Pratt's Star-Lord's personal signature. Despite looking funky, it does not go excessively beyond borderline ridiculous like those... uhm skwad ones (Yeeessh!!! who designed those?). Embargo for the set visits have also been lifted, and various entertainment sites have begun running their reports. Haven't had time to read these set visits, but will do it later today when I have the time. Or tomorrow. But to be honest, I don't need to know more about this movie. I'm already sold about it even before it is announced. LOL. With Gunn himself confirming on social media that Tyler Bates' score for the movie has been completed, it looks like the movie is very close to finish. After all, it will premiere earlier in various countries. I think it'll arrive in April here too! I'm personally curious and can't wait to hear responses from the early screening!

Skipping "Spider-Man: Homecoming", and moving on to "Thor: Ragnarok", director Taika Waititi has confirmed that actor Sam Neill will indeed have a role, albeit minor in his upcoming movie. And he's not alone as an alumn from "Hunt of the Wilderpeople", because he will be accompanied by another actor from the movie. Who is it? Waititi himself!!! LOL. In case you forgot, this quirky director is also an actor, and he did have a brief but really memorable part in that critically-acclaimed movie. Revealing what he played in "Hunt of the Wilderpeople" might be regarded as spoiler, so you've just got to see that movie yourself to know what it is (don't worry, it's HIGHLY recommended). But if you're looking for a quick sample to know whether the New Zealander can act or not, back in 2011 he played Hal Jordan's best friend in the critically-panned "Green Lantern". Arguably not the best example of his talent, but it'll suffice. Especially because he's one of the element that was good in that... uhm, 'bad' movie. My problem with "Thor: Ragnarok", is that up until now, we haven't had a teaser nor trailer for it! I was counting on the Super Bowl for the teaser, but that's not the case. So how the tone and everything else will fit is still everyone's guess. I do trust Marvel Studios though. I'm sure they fully believe in Waititi, so perhaps we should all just follow suit and rest at ease.

Ryan Coogler's "Black Panther" has begun production last month under the working title "Motherland". Through its official announcement, Marvel Studios confirmed that Andy Serkis will return to reprise his role as Ulysses Klaue. Martin Freeman was also confirmed to return as Everett Ross, but this isn't new since he has been spotted alongside lead actor Chadwick Boseman, and actresses Lupita Nyong'o and Danai Gurira before. In the comics, both characters are closely related to Wakanda, so their inclusion is more than obvious. The movie is also expected to have a big action scene in Busan, South Korea. Does this mean we can expect Claudia Kim to reprise her role as Dr. Helen Cho as well? Eventhough the movie has a high-calliber cast that makes everyone (including mine) shakes head in awe, this movie is still lacking some Asian-colors, am I right? Then again, Busan might simply work as a stand-in for the high tech nation of Wakanda, so the movie's setting might not necessarily take place in the East Asian country. I really shouldn't get my hopes up too soon.

At the same time, the much-anticipated "Avengers: Infinity War" has also begun production. This movie will be filmed concurrently along with the currently UNTITLED Avengers movie, that is set to be released on May 2019. Not just in Atlanta, the film will also shoot in several locations around the world, like London, Scotland, and likely others. Oddly, Marvel Studios has yet to release an official cast announcement for the movie. Possibly to avoid spoilering the story, or some other technical reason. So while we wait for that to happen, all we can do is observe movements and activites of Marvel Cinematic Universe's various actors on social medias to guess whether they are in it or not. Some names like Chris Hemsworth, Chris Pratt, Elizabeth Olsen, Jeremy Renner, Benedict Wong, Benedict Cumberbatch, Dave Bautista, Zoe Saldana, Karen Gillan, Pom Klementief, and others have been confirmed thanks to keen-eyed fans. This include possible new cast members, like Peter Dinklage who is widely speculated to play Pip the Troll thanks to his newly dyed red hair. Expect to hear more of this behind the scene scoops throughout the production. If checking various social medias sounds exhausting, not to worry, because fansite MCUExchange has been keeping track of who's in and who's not. You can follow their updates for convenience.

During the set visit for "Vol 2", Marvel Studios' president Kevin Feige also revealed that Josh Brolin's Thanos will serve as the 'main character' of the movie. This is an interesting approach, and a conscious decision by the Studio as a response to the frequent criticism about their 'weak' antagonist characters. Feige is clearly aware of this much-talked about complaints, "A big criticism of ours is that we focus on the heroes more than the villains, I think that’s probably true. I don’t think it will always be true.". It'll be intriguing to see how this applies to "Infinity War", and moreso, critics and especially audience's reaction to it.

Marvel TV

Marvel TV has officially announced the core cast of their two upcoming shows! And both of them are YA titles...

The first one arrived for Freeform (formerly ABC family) and Marvel TV's first collaboration: Marvel's "Cloak and Dagger". MCUExchange initially ran a report mentioning Debbie Ryan and "Heroes" alumn Noah Gray-Cabey as the contenders, but the official press announcement immediately debunked that just a few days after. Young actor Aubrey Joseph has been cast as Tyrone Johnson, who will possess a 'dark' power to teleport others using his Cloak. While former Disney Channel's Olivia Holt has been cast as Tandy Bowen, who is able to manifest the power of 'light' in form of daggers. Just like the comics, the show will focus on both late teens's struggle with their new powers, as they fall in love with one another. Really, it's a YA love story, not unlike... "Twilight"?

Marvel TV's Jeph Loeb and showrunner/Executive Producer Joe Pokaski voiced their excitement and praises for the two young actors. In my opinion? I think the two looks great for the characters, particularly Holt. I'm not too keen on Joseph, but at least this one's much better than the previously rumored actor. Looks-wise, of course.

The second one, came for the more anticipated "Marvel's Runaways". Marvel TV officially announced that their collaboration with Hulu will star: Rhenzy Feliz as the nerdy African-American Alex Wilder, Lyrica Okano as the goth Nico Minoru (Sister Grimm), Virginia Gardner as the model-perfect Karolina Dean (Lucy in the Sky), Ariela Barer as the brash social justice warrior Gert Yorkes (Arsenic), Gregg Sulkin as the seemingly-dumb jock with untapped engineering skill Chase Stein (Talkback), and Allegra Acosta as the innocent Molly Hernandez. There isn't an official word yet, but this show has said to be ordered straight-to-series by Hulu.

To be honest, I'm not fluent with the comic series, and I haven't heard or seen any performances of these actors. But judging from their headshots alone, and comparing it to the character images the internet freely provided, I believe they look spot-on! They already looked like they jumped out of the comics, if you ask me, and with a simple touch of makeup, they will be even similar. So yeah, even I feel impressed by these names. And when people who are familiar with the series are saying good things, it seems more and more certain that the series will be good. Not to mention, Brian K. Vaughn who co-create the comics himself is onboard as Executive Consultant. This obviously gives audience a much higher assurance. For now, no names are confirmed for their 'villain' parents yet, nor whether this live action version of Nico will have any familial connection with Linda Louise Duan's Tina Minoru who debuted in last year's "Doctor Strange". I think it would be wise if they are indeed mother and daughter, to establish the show's place in the Marvel Cinematic Universe. But I'm not counting on anything, considering the gap that's been developing between the movie and TV side.

If the recent report could be trusted, then both series will begin production this month. "Cloak and Dagger" will start filming on February 14 (which makes sense, since it's a love story), with a working title "Shadows". It will take place in New Orleans, which is a change from the comic's setting, and the show is set to arrive next year. It is unclear when "Runaways" will begin production, but the show is expected to debut earlier, which is this Fall. Its working title is called "Rugrats".

Speaking of production, if another recent report is also valid, then Marvel TV's third new show is expected to begin production soon. Yep, Marvel's "Inhumans" is said to begin filming next month, between Chicago and Los Angeles. I'm not too sure about the source, but it makes sense considering the show has set a surprisingly fixed IMAX debut date in September. Not just those two areas, there was a report that said the series will also be filmed in Hawaii. Assuming these reports are true, that means we can also expect to hear casting announcement for Marvel's royal family pretty soon.

Marvel TV has already hired a director in Roel Reine to direct the first two episodes (which will be shot as an IMAX movie format), with a familiar Marvel TV-Netflix collaborator's name, Scott Buck as the showrunner. Although the Dutch director's name is still fairly unheard, and his portofolio in the US isn't actually... encouraging, he has indeed won the Dutch equivalent to an Oscar for a theatrical feature entitled "The Delivery". So perhaps, it's already in good hands? Anyways, that means all we need now is the cast, which for me personally, might very well be the make-or-break element of them all. Two actresses have been rumored so far, based on their social media activities, and honestly, I don't think they are a good fit. But rumor is just rumor until proven otherwise. So while I'm feeling genuinely worried, I can somehow be hopeful too.

If I had to choose which one I want to watch among these three, it's the second show that intrigues me most. "Runaways" easily comes on top, due to the talents alone. "Inhumans" comes next, though as I said, I can't help but feel more worried about it more than the others. I'm not too sure whether Marvel TV has the chops or creds to deliver such grand scale, but that's just a subjective perspective. "Cloak and Dagger" comes third is on list, eventhough I'm a fan of the characters in the comics. I don't know why, but I'm just not feeling it for some reasons. I hope I'm just alone thinking that way though, because expecting a new show to fail so early is just too despicable of an act for me to pull off. Of course, I also don't have any accounts for both Freeform or Hulu, and not planning to obtain ones just to watch one show. So the chances of me seeing two of these shows are VERY slim. Thanks to that, in the end "Inhumans" will likely be the one I'd end up watching. But let's just wait and see what happens when the time comes, all right?

Netflix

As for the Netflix side of Marvel, there are buzzes that we'll be getting a new trailer for Marvel's "Iron Fist" soon. Which is not surprising, considering all 13 episodes of the show will premiere in just a month and a week away! Several new official images have been released, showcasing the core cast of the series with no additional details whatsoever. This new series is the one I'm looking forward the most among the 'Netflix Defenders', so I'm crossing my fingers that it wouldn't disappoint.

At the same time, production for the next two shows continues to roll. Gettyimages has provided behind the scene photos of Charlie Cox's Matt Murdock and Krysten Ritter's Jessica Jones together for Marvel's "The Defenders", possibly reenacting a particular scene from the comics. There are mentions that the production will also shoot on Staten Island, which feature a scene with Mike Colter's Luke Cage. The mini-series has been confirmed (through Entertainment Weekly) to be released in Summer, so we can expect the production to wrap up really soon. This announcement practically confirmed that Frank Castle's show will take the Fall schedule, and that the character miiiight not be in the mini series. Much to many fans dismay, of course, including me.

Meanwhile, identity of Sigourney Weaver's character has yet to be revealed as well. EW only revealed her character's name as Alexandra, which can refer to practically anyone, comic book rooted or not. Showrunner Marco Ramirez only stated vaguely that Weaver's Alexandra is "a very powerful force in New York City. She’s everything Sigourney is: sophisticated, intellectual, dangerous.". Once again, that can mean anyone... or anything, since we're dealing with The Hands. Personally, I'm leaning towards a politician who wants to regulate vigilantes and people with abilities. That would rhyme really well with the aftermath of "Captain America: Civil War", as well as what's happening in "Marvel's Agents of S.H.I.E.L.D.". But that's just me and my theory. Don't quote me on that! LOL.

Another candid images of the production for Marvel's "The Punisher" has been making rounds in the internet. These images raised some... concerns among fans, because Jon Bernthal has been seen holding flowers. Hmmm... does this mean he's visiting a grave? Problem is, an old one (his family), or NEW grave (of a cast member, or character from previous series). Don't forget, this show is now expected to arrive at Fall. That means they might still be working on halfway through the series. Worth noted though, that filming doesn't necessarily follow the chronologic of the show. So whatever scene he's filming might always come from a needed flashback, something that occurs in the 2nd arc, or something that might happen later in the series' epilogue.

For the non-Marvel, Netflix has officially released the first trailer for the highly-anticipated second season of "Stranger Things" during Super Bowl. What a surprising move! This came directly on the heels of them releasing an official image from the show, that highlighted the children leads in their time-setting-appropriate Ghostbusters cosplay. I haven't seen this trailer myself (have to wait until after 1:00AM to be able to use bigger datacharge), but response to it have been... great. Too great even, so I'm REALLY curious. But you know what? I don't really need to see it anyway. I've already fallen in love with this show, so there's really no question whether I'm looking forward to see next or not. Problem is... season 2 will not arrive until Halloween. Well, that's a long wait, huh? *sigh*

Oh well, can't help it. Guess now I only need confirmation of when the 3rd season of "Unbreakable Kimmy Schmidt" will arrive, and I'm practically good to go!

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND August 30, 2019  - Labor Day Blahs

I was trying to decide whether to do one of these this week, because it’s Labor Day weekend, and this is likely to be a particularly short column because I HAVEN’T SEEN ANYTHING! In fact, I’m not even doing my regular Box Office Preview column over at The Beat, because there just doesn’t seem to be much point to it. There used to be a time when studios would release movies over the four-day holiday weekend but not so much anymore, and this is a particularly weak Labor Day with no new movies opening in 1,000 theaters or more. No, it’s more about reexpanding movies already in theaters like Spider-Man: Far from Home in order to try to make more money before the summer is over.  But if this is boring, you can also read my 2019 Summer Box Office wrap-up over at The Beat.

The only new “wide” release is BH Tilt’s latest release DON’T LET GO, a thriller directed by Jacob Estes (Rings) and starring David Oyelowo and Storm Reid from A Wrinkle in Time, and it’s not even opening in 1,000 theaters. It might not even get into the top 10.  Apparently, BH Tilt is now going as “OTL Releasing” but I don’t think this movie has as much buzz as Leigh Whannell’s Upgrade, released by Blumhouse’s distribution branch in June 2018 to make $4.7 million opening weekend and $14.4 million total domestic. I don’t see Don’t Let Goopening that big as its plot is far vaguer, and I think if this make more than $4 million over the four-day holiday, it would be considered a coup since it’s only playing in less than 1,000 theaters. Who knows? I might even go see it on a lark.

Interestingly, there are two foreign language films from other countries (because as hard as it might be to believe, they speak other languages in other countries!) getting moderate releases this weekend: Sujeeth’s Bollywood action-thriller SAAHO (Yash Raj Films) and from Mexico, Ariel Winograd’s Spanish language TOD@S CAEN released by Lionsgate’s LatinX division Pantelion Films. I will be the first to admit that I’m not the best person to gauge interest in either movie because they’re not my communities, so I rarely see much marketing for these films.

Opening on Thursday, Saaho actually looks pretty cool, and if I can find three hours of time over Labor Day, I might actually check it out. It’s being released in three languages versions: Hindi, Telugu and Tamil, all with English subtitles, and that seems very groundbreaking, and it will also be in IMAX theaters. This could be another hit for Yash Raj ala the “Dhoom” series—Dhoom 3 opened with $3.4 million in 239 theaters in 2013 -- and possibly the studio’s widest release since 2018’s Thugs of Hindostan.

Check out the Hindi trailer below:

(Oddly, Saaho was supposed to be released on India’s Independence Day August 15, but then was pushed back to American Labor Day. Bollywood films tend to get day and date releases nationwide to avoid piracy.)

Tod@s Caen (pronounced “todos caen” – don’t yell at me! It wasn’t my idea!) stars Omar Chapparo, the hot Mexican star from Pantelion’s hits No manches Frida and its sequel plus How to Be a Latin Lover. No manches Frida grossed about $11.5 million after its $4.6 million opening over Labor Day in 2016 while the sequel opened slightly bigger this past March but grossed less. Latin Lover was a huge crossover success for Chapparo and Pantelion, grossing $32.1 million.  This is likely to be more in the former category and opening in 365 theaters, it probably can make around $3 million or more.

STREAMING AND CABLE

There aren’t many movies I can recommend, but at least I can recommend the new Netflix series THE DARK CRYSTAL: THE AGE OF RESISTANCE, which is a prequel to the 1982 Jim Henson movie that was made quite lovingly using the same puppeteering techniques as well as some of the same designers from the original movie. Plus the series has an absolutely brilliant voice cast that includes Taron Egerton, Helena Bonham-Carter, Anya Taylor-Joy, Alicia Vikander, Sigourney Weaver, Natalie Dormer, Lena Headey, Jason Isaacs, Theo James, Mark Strong, Toby Jones, Gugu Mbatha-Raw, Simon Pegg and many, many more. As someone who wasn’t really a fan of the original movie, I found myself quite wrapped up in this series, having watched the first five episodes so far, and I think fans and non-fans alike will dig it.

You can read my interview with the writers over at The Beat.

(Netflix is also releasing a movie called Falling In Love, starring Christina Millan and Adam Demos... but that title... I just can’t!

Amazon Prime will begin streaming its own fantasy series, the very different Carnival Row, starring Orlando Bloom and Cara Delevingne, on Friday. It’s a steampunk noir crime series in which Bloom is an inspector trying to solve some Jack the Ripper style murders of the city’s fae and puck population, fantastical creatures who act as the city’s slave labor. I didn’t enjoy this nearly as much as it just doesn’t feel like my kind of thing even though I do love Victorian era stuff usually. I think it just hasn’t found its footing in the couple episodes I’ve seen. I also interviewed a few of the actors which will be on The Beat later today.

LIMITED RELEASES

Okay, I definitely lied as I’ve also seen Kim Farrant’s ANGEL OF MINE (Lionsgate), an amazing psychological drama starring Noomi Rapace as a woman whose daughter died but whom thinks that her neighbor’s daughter is actually her own. Also starring Yvonne Strahovski, Luke Evans and Richard Roxburgh, this mostly Australian film is actually a little like the recent After the Weddingin terms of the strangeness of its premise but it’s handled more like a thriller and Rapace gives another stirring performance. It will be in select cities starting Friday, and I recommend checking it out, especially if, like me, you’re a long-time fan of Ms. Rapace.

Never got around to seeing Gavin Hood’s new movie OFFICIAL SECRETS (IFC Films), because I’m such a fan of Keira Knightley, and in this one she plays Katharine Gun, a British intelligence specialist handling classified information in the lead-up to the Iraq War in 2003. She receives a shocking memo from the NSA seeking help in collecting information on UN Security Council members to blackmail them into supporting an invasion of Iraq.

Hannah Pearl Utt’s BEFORE YOU KNOW IT (1091) stars the co-writer/director as stage manager Rachel Gurner who lives in her childhood apartment with her sister Jackie (Jen Tullock), father Mel (Mandy Patinkin) and preteen niece Dodge (Oon Yaffe) above the theater they own and operate. After a tragedy, the two sisters find out their mother, long thought dead (Judith Light) is still alive working on soap operas and they need to come to terms with that. The movie also stars Mike Colter and Alec Baldwin and it opens in select cities.

Limp Bizkit frontman Fred Durst also has a new movie as director, a thriller called THE FANATIC (Quiver Distribution), starring Devon Sawa from Final Destination and John Travolta. Travolta plays movie fan Moose who is obsessed with his favorite action hero Hunter Dunbar, played by Sawa. With the help of his paparazzi photographer friend Leah (Ana Golja), Moose tries to find Moose as his interactions with the celebrity become more dangerous as Moose becomes more obsessed.

Liam Hemsworth from “The Hunger Games” stars in Malik Bader’s Killerman (Blue Fox Studios) as a New York money launderer who wants to find answers after waking up with no memory and with millions in cash and drugs, as he’s chased by a team of dirty cops. The movie also stars Emory Cohen, Diane Guerrero (“Orange is the New Black”) and Suraj Sharma from Life of Pi, and it’s getting a small theatrical release in select cities.

Now playing at New York’s Film Forum is Marjoline Boonstra’s doc The Miracle of the Little Prince (Film Movement) which looks at the sustained global popularity of Antoine de Saint-Exupéry’s The Little Prince in the eight decades since it was first published.

Opening in IMAX theaters Thursday and then nationwide Sept 6 is the Chinese animated film Ne Zha (WELL Go) about a young boy with superpowers who must decide between good and evil.

There’s a couple other things but I’m so behind for the weekend that I’m done.

REPERTORY

A few rep things to mention before we get to the regular theaters. The Wachowski’s original The Matrix will be celebrating its 20thanniversary with a rerelease across the nation in Dolby theaters, so I’ll be seeing that Thursday night. The Alamo in Brooklyn is also screening a special 70mm print of Alfred Hitchcock’s Vertigo, and that’s where I’ll be on Saturday.

METROGRAPH (NYC):

On Friday, the Metrograph will begin screening a 35mm print of Eric Roehmer’s 1986 film Le Rayon Vert, but there lots of series continiung through the weekend including the “Shaw Sisters” series which is fairly interesting so far. Angie Chen’s Maybe It’s Love (1984) plays again on Thursday evening –that’s a weird one—and Ann Hui’s Starry Is the Night (1988) will play tomorrow and Sunday and a few others. If you want to see a weird and really bad but very funny horror film, you have to check out Angela Mak’s The Siamese Twins on Saturday night, plus there’s a few more I haven’t seen. The Metrograph has also expanded its “Godard/Karina Late Nights” series so that you can see Alphaville (1965) and Pierrot Le Fou (1965), both beloved classics, through the weekend, as well as this weekend’s offering to the series, 1962’s Vivre Sa Vie. This week’s Late Nites at Metrograph  is Leo Carax’sHoly Motors (2012) and Satoshi Kon’s Perfect Blue but you can also see the late Japanese filmmaker’s excellent Paprika (2006) through the weekend, as well. This weekend’s Playtime: Family Matinees  is another Ray Harryhausen classic, 1963’s Jason and the Argonauts.

THE NEW BEVERLY (L.A.):

The New Bev ends its month of mostly showing Once Upon a Time … in Hollywood before returning to repertory fare next week, but its Weds. matinee is the 1953 Western comedy Calamity Jane, this weekend’s KIDDEE MATINE is Disney’s The Ugly Dachsund (1966) starring Dean Jones, and then on Monday, you have two chances to see Michael Mann’s 1995 crime-thriller Heat, although you’ll have to see it at 9:30AM cause the usual 2pm matinee is sold out.

AERO  (LA):

Thursday begins a “Sellers and Southern Double Feature” series (?) of Dr. Strangelove (1964) with The Magic Christian (1969), Friday is a double feature of 1999’s Office Space with Kevin Smith’s Clerks(1994) and then on Saturday is a Mad Max TRIPLE Feature of the first three movies: Mad Max (1979), The Road Warrior (1982) and Mad Max Beyond Thunderdome (1985). Sunday is a special screening of Thom Anderson’s 2003 film Los Angeles Plays Itself, and Monday begins Aero’s “Heptember Matinees” series as in Katherine Hepburn, and it kicks off with 1940’s The Philadelphia Story.

FILM FORUM (NYC):

Marty and Jay’s Double Features runs through next Thursday and there are one or two of these double features every day with a mix of classics and esoteric and rare stuff. You can click on the link to see all that’s playing.

FILM AT LINCOLN CENTER (NYC):

“Make My Day: American Movies in the Age of Reagan” continues up at Lincoln Center through Tuesday with highlights like Robocop, David Cronenberg’s Videodrome, Scorsese’s The King of Comedy and The Last Temptation of Christ, Conan the Barbarian, First Blood and more.

IFC CENTER (NYC)

This week’s Weekend Classics: Staff Picks Summer 2019 is the original, classic King Kong, while Waverly Midnights: Staff Picks Summer 2019 is Office Space (1999) and Russ Meyers’ Beyond the Valley of the Dolls (1970). Late Night Favorites: Summer 2019 is Aliens, Suspiria and Eraserhead, just in case you missed any of those the dozen other times they’ve been shown.

BAM CINEMATEK (NYC):

Saturday’s “Beyond the Canon” offering is a double feature of Haifaa Al-Mansour’s Wadja from 2012 and Wim Wender’s 1974 film Alice in the Cities. BAM is also showing the second part of its “Programmers Notebook: On Memory”  with offerings like Terrence Malick’s The Tree of Life, Christopher Nolan’s Memento, Kurosawa’s Rashomon, Sarah Polley’s Stories We Tell, Eternal Sunshine of the Spotless Mind (of course) and more!

MUSEUM OF THE MOVING IMAGE (NYC):

“See It Big! 70mm” will screen Steven Spielberg’s Ready Player One on Friday and Saturday evenigs but ALSO, they’re showing one of my favorite comedies It’s a Mad Mad Mad Mad Mad World (1963) in 70mm on Saturday afternoon.

ROXY CINEMA (NYC)

Tonight and Sunday, the Roxy is showing the 1965 film Juliet of the Spirits. On Saturday, the theater is showing Agnes Varda’s 1965 film Le Bonheur.

LANDMARK THEATRES NUART  (LA):

This week’s Friday night midnight film is Miyazaki’s Spirited Away.

This weekend, the Egyptianin L.A. is taken over by the Cinecon Classic Film Festivaland you can find out what that consists at the official site.

Next week, New Line releases It: Chapter Two, which I probably will have seen by the time you read this but probably will still be under embargo.