Alec Baldwin, Unafraid Of The Woody Lynch Mob

I've already covered the Woody Allen allegations that Mia Farrow and her kids Ronan and Dylan have laid down on him. His reputation has surely been hit as actors that have worked with him in the past, no doubt driven, pressured, by the #MeToo and #TimesUp movements, have changed their tune on the director and now expressed regrets in working with the 82-year-old filmmaker.  Ellen Page, Greta Gerwig, Rebecca Hall, and Timothée Chalamet have all expressed remorse in working with Allen.
So it was with a breath of fresh air that I read Alec Baldwin's tweets earlier this afternoon, DEFENDING Woody. Baldwin's starred in three Woody movies: “Alice,” “To Rome With Love,” and “Blue Jasmine.”

Matt Damon Says “I Will Close My Mouth For A While” After Backlash Happened To His #MeToo Comments

In an interview Matt Damon did for ABC‘s “Popcorn with Peter Travers,” actually tried to explain why he thinks is a downside to the #MeToo movement sweeping the industry. 

“I think it’s wonderful that women are feeling empowered to tell their stories and it’s totally necessary,” Damon had said. “I do believe there’s a spectrum of behavior. … You know, there’s a difference between, you know, patting someone on the butt and rape or child molestation, right? Both of those behaviors need to be confronted and eradicated without question, but they shouldn’t be conflated.”

“All of that behavior needs to be confronted, but there is a continuum,” he added. “And on this end of the continuum where you have rape and child molestation or whatever, you know, that’s prison. Right? And that’s what needs to happen. OK? And then we can talk about rehabilitation and everything else. That’s criminal behavior, and it needs to be dealt with that way. The other stuff is just kind of shameful and gross.”

“We would then go to mediation and organize a settlement,” he said. “I’d go, ‘I don’t want this out there. … it’s going to be overshadowing the opening of this movie. How much money do you want?’ The lawyers would get together, and they do this cost-benefit analysis, and they’d go, ‘Oh, this is what it’s worth.’ And I look at the number and go, ‘OK, I’ll pay it, but you can never talk about this again. You’re fucking lying about this, but never talk about this again.’ ”

Of course, Damon trying to explain what he would do if he were in the same position as the victimized women might have been going a little too far. The response to this interview was almost too predictable. Social media quickly attacked the actor, I mean, "how dare a man say what he thinks about the #MeToo movement?" 

The backlash was pretty bad, and during an interview this morning on the Today show, Damon apologized. Hell, he and begged for forgiveness.

“Boy, I really wish I’d listened a lot more before I weighed in on this,” he stated. “I think, ultimately, what it is for me is I don’t want to further anybody’s pain with anything that I do or say. So for that, I’m really sorry. This whole Time’s Up — a lot of those women are my dear friends and I love them and respect them and support what they’re doing and want to be a part of that change and go along for that ride.”

“I should get in the backseat and close my mouth for a while,” he added.

Woody’s Hollywood Career In Question. After Greta Gerwig, Rebecca Hall, Ellen Page, and David Krumholtz, Timothee Chalamet Donates Salary From Upcoming Woody Allen Movie To “Time’s Up.”

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Just last week Greta Gerwig released a statement regarding her past work with Woody Allen in the film “To Rome With Love,” saying she deeply regretted working with the 82-year-old director. Why? Well, Allen has been scuffled in years of controversy involving Dylan Farrow, his longtime partner Mia’s daughter, who has, countless times, alleged that Allen molested her for years. Now that the #MeToo movement is in full-surge, it seems like Allen’s past has resurfaced as a hot-button issue. It’s not just Gerwig.  Other actors that have worked with the iconic director, including Ellen Page, Griffin Newman, and David Krumholtz, have expressed regret in working with him.

Rebecca Hall then lent her voice to the Mia Farrow-backed witch hunt that list. The actress, in a statement released on Instagram, all but shunned her former director, saying she “deeply regrets” signing on for a role in his next movie “A Rainy Day in New York.” What sparked the outrage? Reading Farrow’s latest statement this past week. Though to be fair, they’re the same claims Farrow has been making for the last decade. But people are finally listening. Hall said she was ready to donate her salary from the film to the Time’s Up legal defense fund.

Now Timothee Chalamet, who stars is Woody Allen's next movie, has decided to donate his salary to Time's Up. “I have been asked in a few recent interviews about my decision to work on a film with Woody Allen last summer,” Timothy Chalamet said on Instagram Monday evening. “What I can say is this: I don’t want to profit from my work on the film, and to that end, I am going to donate my entire salary to three charities: TIME’S UP, the LGBT Center in New York and RAINN.”

What does this ever-growing list of actors and actresses condemning Allen mean for his future in moviemaking? We’re not sure yet, but one suspects that if more stars come out to condemn him then he might be hounded out of moviemaking for good, at least in Hollywood. American actors are surely going to think twice about working with him now and it will be really interesting to see what happens with the announcement of Allen’s next film if it happens because the writer/director typically announces and shoots a new film about every 12-16 months.

There would surely be European financiers ready to back his next projects, but a total ousting from Tinstletown would be a significant event. Following the allegations of child abuse, Allen’s much-publicized split with Mia Farrow back in the 1990’s ended in hostility, most of which has been unresolved almost two decades later. Ronan’s brother Moses has vehemently defended his dad over the years saying “My mother [Mia Farrow] drummed it into me to hate my father for tearing apart the family and sexually molesting my sister, and I hated him for her for years. I see now that this was a vengeful way to pay him back for falling in love with Soon-Yi.” However, Ronan Farrow, a reputable journalist, who helped uncover the Harvey Weinstein scandal for The New Yorker a few months ago (and signed a three-year deal this week with HBO to head up investigative documentaries), stands by his assertions that sexual abuse did happen. It’s a polarizing and infuriating scandal and the noise around it is not about to quell anytime soon.

Posted on:

"Disgusting, bullshit...McCarthyism...people crumbling and turning out of fear...mass public shaming....this is a disgraceful moment. Will Woody get hounded out of moviemaking? I don't know. I hope not. That would honestly crush my heart. I mean, I feel there are European financiers that would fund him. People know that Mia is a brainwasher who abused her kids. But they CAN'T SAY THAT Because that would be BLAMING THE VICTIM. I think we are fucked. The more times Trump does something like "shithole"...all white males pay. You can protest Trump 24 hours a day...you will still pay."

Best Picture Oscar: Will It Be “Get Out” Vs. “Lady Bird”?

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Hollywood Elsewhere's Jeffrey Wells and I recorded a chat on Sunday morning which was accidentally not recorded, because good ol' Jeff's batteries died about 12 minutes in. However, I elaborated, yet again, that I believe the Best Picture Oscar resides in two films "Get Out," and "Lady Bird." You can also add Guillermo Del Toro's "The Shape of Water" as well,  but I just can't see the Academy honoring that kind of film, especially since it lacks the political undertones that have made the industry vibrate the last year or so.

I reiterated the fact that "Three Billboards outside Ebbing, Missouri" will be losing major cred due to backlash articles that have been spreading around the net [Read: Matthew Olson‘s Digg  article titled “Expect The ‘Three Billboards’ Backlash To Dominate All Oscars Talk — Here’s Why.” and USA Today's Maeve McDermott  “The Growing Racial Backlash Against ‘Three Billboards Outside Ebbing, Missouri’.”

As for The Post, I told him "fugghedaboutit," the Oscar-bait movie that has been a staple of Oscar buzz for decades is finished. And, that is why Spielberg's movie never found a way to gain awards traction this season. As Jeff wrote, quoting me "People smelled Oscar-bait calculation from the get-go, and they don’t like the mindset (an “important” story or theme done classy, aimed at 50-plus types, bucks-up stars and screenwriters) and the “game” of it all. The 45-and-unders looked at this well-written, respectably made prestige flick with two boomer superstars (Streep, Hanks) and said, “Where is it written that we all have to stand up and salute Oscar-bait movies like little toy soldiers every fucking November and December?"

I wrote this a few days before the podcast:

"As far as I know, "Three Billboards" is having a severe social media backlash, "The Post" didnt nab a SAG or DGA nod, "Dunkirk" and its lack of emotional resonace is splitting voters and "Call Me By Your Name" is just not lifting off.  What does that leave us with? "Lady Bird," "The Shape of Water," and "Get Out." The Academy wants to surely make another political statement. Del Toro's film, although driven by a tremendous female performance, isn't a statement. I thought this was the era where mostly-white, Hollywood ass-kissing, self-congratulatory Oscar winners ("Argo," "The Artist," and "Birdman") couldn't win anymore. The academy membership has also changed, and there will be PLENTY of people voting politically instead of emotionally in the age of Trump"Get Out" vs. "Lady Bird" is what I predict.

Aziz Ansari controversy might be the make it or break it moment for #MeToo movement

Aziz Ansari has been a vocal supporter of the #MeToo movement, even wearing a Time’s Up pin. Well, it seems like now his time might actually be up as a complaint about said behavior has been done against him by an anonymous woman on babe.net.

The 23-year-old accuser told the website that the date she had with Ansari was “by far the worst experience with a man I’ve ever had. I believe that I was taken advantage of by Aziz,” she said.]

Uncomfortable is what she described the experience as, as sexual activity escalated after an apartment dinner, she claims the comedian ignored her verbal or non-verbal discomfort. Ansari moved her hand to his genital area repeatedly and, in her own words, “pressured” to have sex with him.

Ansari quickly responded to accusations saying that the sex was “by all indications completely consensual” but that he “took her words to heart”.

This whole fiasco is so disheartening.  I don't know what to say. Women need to also take responsibility and say "No." You can't expect telepathy from men. I think ages of people consuming idiotic culture and not getting educated have caught up with us. Neither the left nor the right seems to me sane or even fully adult. Those of us who are civilized adults are way in the minority. I think there is also a weirdness at work here, hard to talk about...which is I think this is the revenge of sexually inactive people, female and male, on sexually active people. I don't see a lot of people I know of as mad fuckaholics screaming "Yes! More rules on sex! More, more, more rules!" The Aziz Ansari controversy might be the make it or break it moment for #MeToo movement, stay tuned.

The first film to be screened in Saudi Arabia after a 35-year ban on cinemas was ‘The Emoji Movie’

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Well, it had to happen. We know that 200+ high ranking Saudis have been detained and $50 billion in assets seized. Some kind of societal overhaul is happening over there.  I wonder what is the cause? There has always been a running division amongst Saudi royalty. The powerful are Western educated and their religious beliefs are, err, moderate to say the least.  The royals being arrested seem to be those using religion to gain more power. This has been a major crutch for the moderates. To avoid this, they have focused on bringing about attitude changes first - hence the enormous women's university and similar projects. It seems like it might be working. Either this will blossom into a full-blown westernized country or we see a religious uprising and it'll all go to hell. Good luck to anyone living there.

[Reuters]

Liam Neeson says #MeToo movement “A bit of a witch-hunt”

The 70-year-old father of a Heat Vision contributor sees 'The Commuter' as a nostalgic

Making the rounds promoting his latest film "The Commuter," on Ireland's "Late Late Show," Neeson, borrowing unfortunate language from President Trump, suggested the revelations about sexual harassment in the industry have gotten out of hand and, problematically, how some sexual harassment transgressions are less egregious that others.

"There is a bit of a witch hunt happening,” the 65-year-old actor said. “There are some people, famous people, being suddenly accused of touching some girl's knee or something and suddenly they're being dropped from their program or something."

Neeson specifically referenced author, storyteller and radio personality Garrison Keillor who was accused of inappropriate behavior in November.The actor explained the story. “[Keillor] was listening to a sad story from a female friend of his and at the end of this he put his hand to her back, like this, and she had a blouse on and it was her bare back," he said. "I don't know what the blouse was like. He immediately took his hand away and apologized. She said, 'Don't worry about it, forget about it.' Months later he gets a call from a lawyer—his radio station does, Minnesota Public Radio— saying he inappropriately touched this lady and he was dropped like that.”

Neeson went on to mention Kevin Spacey and Harvey Weinstein, saying their misdeeds just can't compare to the tamer behavior of Keillor or even Dustin Hoffman, the allegations of which he disturbingly described as "childhood stuff."

“I think Dustin Hoffman… I’m not saying I’ve done similar things like what he did—apparently he touched a girl’s breast and stuff— but it’s childhood stuff,” Neeson said, adding. “When you’re doing a play and you’re with your [acting] ‘family,’ other actors, you do silly things. You do silly things.”

Is he right? Well, to a certain extent the points he raises are thought-provoking and should be pondered upon. Of course, Men, and in some cases women, who are very much guilty of harassment deserve everything that's coming to them, but some also deserve to be treated fairly and have due process. The mob mentality currently inflicting the #MeToo movement, a righteous and important movement, could also be its downfall. All of the people losing their jobs over accusations have had that happen to them without proper investigations proving the claims.  This could end up costing women dearly in the future, especially if the accusations are not handled properly or fairly. It just takes a single false accusation to have the dominoes start falling on the movement, something we don't want to happen as its brought much progress for women not just in the industry but in vast fields.

Mark Wahlberg Donates $1.5 Million To Time’s Up After ‘All The Money’ Scandal

Wrote for The Playlist:

Wahlberg’s full statement:

“Over the last few days my reshoot fee for ‘All the Money in the World’ has become an important topic of conversation,  I 100 percent support the fight for fair pay and I’m donating the $1.5 million to the Time’s Up Legal Defense Fund in Michelle Williams’ name. The current conversation is a reminder that those of us in a position of influence have a responsibility to challenge inequities, including the gender wage gap. In recognition of the pay discrepancy on the ‘All the Money in the World’ reshoots, WME is donating an additional $500,000 to the Time’s Up Legal Defense Fund in Michelle Williams’ name, following our $1 million pledge to the organization earlier this month. It’s crucial that this conversation continues within our community and we are committed to being part of the solution.”

It would feel like a generous gesture if Wahlberg hadn’t already essentially held the entire production and film crew hostage by threatening not to approve Plummer, but the fact remains that the actor is not going to get out of this one clean and his reputation has been tarnished. Exacerbating it all is his morally reprehensible ransoming juxtaposed with Williams’ “whatever-you-need” selflessness.

Worse, Wahlberg is currently the highest paid actor in Hollywood. The irony here–given the fact that “All The Money In The World,” is about an old rich sociopath who has an insatiable lust for amassing, and never parting with, his wealth–is thick. If Wahlberg or his reps think this questionable gesture is going to close the matter, they’ve likely got another big thing coming. This likely won’t be the last we hear of this saga given that Michelle Williams and the always candid Scott haven’t weighed in yet.

Rumor: Matt Reeves' Batman Movie Won't be in DCEU; Affleck to Get Last Hurrah



We need to stress that this is still a "rumor" and that we cannot verify it at all, but BoF (the source here) was right about the Justice League reshoots, but he also stresses this is a rumor. It's possible they're waiting until it's written to know if it can be incorporated or not. Who knows but if this happens it would be fantastic, Reeves' Batman could be a game-changing event for the WB, in that, if it's successful it could bring more standalone non-DCEU films.

BatmanOnFilm:

"Matt Reeves’ Batman film will be its own thing.  In fact, it might be released under that new and yet unnamed banner at WB that will feature DC films that are not “canon” (i.e. “in-continuity”).

 "If this is true, then that adds validity to the reports that Reeves wants to start fresh and cast his own Batman/Bruce Wayne.  And to be perfectly honest, if I’m Reeves, being able to do what I want to do and not have to mold my Batman on film vision to what came before — tonally, continuity-wise, and aesthetically — would be the only reason I would take the job."

 But that ain’t all folks!

"There’s a chance — albeit a very small one — that Ben Affleck could be given a “last hurrah,” so to speak, in FLASHPOINT (if it gets made) or even SUICIDE SQUAD 2.  Of these two, it seems that SS2 is indeed going to happen and will actually begin filming at some point later in 2018.  I do know for a fact that there’s a role for Affleck’s Batman in FLASHPOINT, but I’m not holding my breath for it to happen quite frankly."

What do I think of this?  I think that the fine folks at Warner Bros. are currently looking at a multitude of options for not only Batman, but DC on film going forward.  Perhaps Reeves’ Batman movie ends up being “canon” when its all said and done.  Maybe Ben Affleck does get his “graceful and cool way to segue out” of playing Batman via an extended cameo in one of these two films (though I think it’s best to move on from Batfleck).

Rebecca Hall Regrets Working With Woody Allen; Donates Salary To Time’s Up Movement

Disgusting, bullshit...McCarthyism...people crumbling and turning out of fear...mass public shaming....this is a disgraceful moment. Will Woody get hounded out of moviemaking? I don't know. I hope not. That would honestly crush my heart. I mean, I feel there are European financiers that would fund him. People know that Mia is a brainwasher who abused her kids. But they CAN'T SAY THAT Because that would be BLAMING THE VICTIM. I think we are fucked. The more times Trump does something like "shithole"...all white males pay. You can protest Trump 24 hours a day...you will still pay. 

Wrote about Hall's statement for The Playlist.

“The Dark Knight” chosen by Collider as the #1 superhero movie of all time, Logan at #2 and “Captain America: Civil War” at #3

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Collider's list of top 50 Superhero Movies of All-Time is surprisingly decent. I've posted the top 20 below and, safe for a few awkward choices ("Wonder Woman" and "Spider-Man: Homecoming" being included is ridiculous), I like it. 

1. The Dark Knight 

2. Logan

3. Captain America: Civil War

4. The Avengers

5. Captain America: The Winter Soldier

6. Superman

7. The Incredibles

8. Wonder Woman

9. Iron Man

10. X2

12. Deadpool

13. Spider-Man: Homecoming

14. Batman Begins

15. Spider-Man 2

16. Unbreakable

17. X-Men Days of Future Past

18. Batman

19. X-Men: First Class

20. Kick-Ass

Leonardo Dicaprio To Star In Quentin Tarantino's Charles Manson Movie

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Quentin Tarantino's movie will be a drama set in late 1960s and early 1970s Los Angeles and revolve around a few characters that might or might not be c0onnected to the Charles Manson murders.

As previously reported,  Margot Robbie was offered the role of Sharon Tate, Roman Polanski's then wife murdered by Manson’s cult, and Tarantino has also written roles for Brad Pitt, Leonardo DiCaprio, and Samuel L. Jackson. 

Variety is reporting that DiCaprio will indeed reteam with his “Django Unchained” director.The 43 year-old star has not been in a movie since his 2015 Oscar-winning turn in "The Revenant." This will most likely be his next movie as he has nothing else planned before QT's joint. 

The rest of the aforementioned are still being hunted down for roles, I especially would like to see Tom Cruise nab a role as his talents have mostly been waster on franchises the last decade or so.

As per The Playlist:

"The film is set in Los Angeles in the summer of 1969, and centers on a male TV actor who’s had one hit series and is looking for a way to get into the film business. His sidekick—who’s also his stunt double—is looking for the same thing. Meanwhile, the horrific murder of Sharon Tate and four of her friends by Charles Manson’s cult of followers shadows the main narrative. In fact, don’t even expect Manson to show up in prominent role; he will likely be on the edges of the story."

The movie, untitled as of now, will be released on August 9, 2019. 

PTA praises Steven Spielberg’s “The Post”

Steven Spielberg has actually become a better and more mature filmmaker since his E.T heydays. Take for example, some of the craft and masterful storytelling he produced between 1998 and 2006 ("Saving Private Ryan," "Munich," "Minority Report," "AI: Artificial Intelligence," "Catch Me If You Can" and "War of the Worlds"), an incredibly impressive and varied résumé. This was some of the riskiest storytelling he'd ever given us."

His technique seemed to have changed around that time. It felt more refined and less obvious. These were also some of the darkest, most despairing films he ever made. In other words, given the 30+ years of experience he had behind the camera, he just became a better filmmaker and learned from his mistakes. The way he edited, shot, and let the scenes breathe was just masterful. He also used long shots more often, a sure sign of having more confidence in his craft. His style looked simple, yet it was incredibly complex and effective.

However, something changed in recent years.  his latest, "The Post," continues in the very recent tradition of talky, slow-burning Spielberg political dramas ("Lincoln," "Bridge of Spies") of old-fashioned Hollywood craftsmanship. Spielberg's clearly going through a Victor Fleming phase of sorts, one of his idols, or, dare I say it, a Stanley Kramer phase as well, another favorite of his. Paul Thomas Anderson seems to think it's more Ophuls and I'm kicking myself for not thinking of that as well. Of course, Ophuls is all over these last few films:

“[Max] Ophuls is my hero when it comes to blocking the actors and blocking the camera and the dance they do together. He’s just the best. By the way, have you seen ‘The Post’? I’d say Steven Spielberg is as good with the camera as anybody in film history,” Anderson said. “I saw it the other day, and I couldn’t believe how good he is at dealing with a lot of people in that small a space. He’s got 10 people in a living room, and everybody’s moving around, and everything seems natural, and the camera’s dancing around them, and that thing is a miracle of staging and camerawork. I can’t wait to see it again, to really look under the hood and watch how he did it.”

[Chicago Tribune]

Mark Wahlberg reportedly refused to approve Christopher Plummer's casting until he was paid $1.5 million

USA Today‘s Andrea Mandell reported earlier this week that Mark Wahlberg was paid way more than his co-star Michelle Williams for the reshoots in Ridley Scott's "All the Money in the World." Over the nine-day period, which had Christopher Plummer reshooting Kevin Spacey's scenes as John Paul Getty III, Wahlberg earned a $1.5 million paycheck, as for Williams? $80 per day, for a grand total of less than $1000. That's not even a joke. Three people familiar with the situation, but contractually unable to speak about it, were quoted by Mandel in the article, which has caused waves around the industry today. Who is to blame? We don't really know but more will surely be revealed in the days to come.

USA Today has cracked the case wide open today by saying that Wahlberg was very greedy when it came to the reshoots:

“What he said was, ‘I will not approve Christopher Plummer unless you pay me.’ And that’s how he (expletive) them,” a source told the paper.

So, Wahlberg comes off a selfish, greedy douchebag. Are we surprised? Especially since his co-star Michelle Williams did the reshoots for next to nothing and said she was open to it as well:

“I said I’d be wherever they needed me, whenever they needed me. And they could have my salary, they could have my holiday, whatever they wanted. Because I appreciated so much that they were making this massive effort,” Williams told USA Today.

As for Scott, he said he felt “betrayed” by the news that Wahlberg made millions and Williams made basically zilch. I would expect Wahlberg to eventually make a statement about this because his reputation at the moment has taken a major hit.

The Backlash Against “Three Billboards Outside Ebbing Missouri”

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A backlash happens every year to a film seemingly flourishing with awards love and destined for Oscar gold. It's just part of the game but now that the "woke" movement is in full-swing on social media, it's a little easier for a film to offend the timid-minded and be dealt a severe blow during awards season. This year, that film seems to be "Three Billboards Outside Ebbing Missouri," a well-made, darkly humorous film that was the toast of the Toronto International Film Festival, winning the audience award and making Frances McDormand the front-runner to win the best actress Oscar in March. Well, McDormand can kiss those hopes goodbye because people are clamoring on that the movie is "racist."

Yes, "Three Billboards Outside Ebbing Missouri" is officially "racist" according to the "wokers." The gist of it is that Rockwell's character in the movie, Officer Dixon, hated black people, and didn't deserve the heroic treatment he received in the last third.

The Guardian's Marc Bernardin, more or less, started the conversation:

"Officer Dixon (Sam Rockwell), is introduced to us as a virulent racist who has taken a shine to brutalizing the black people in his town."

"The film tells us that Dixon is a “nigger-torturing” cop, but also that his great problem is that he’s angry, not racist. (It also chooses to tell us of his brutality, rather than show it, but more on that later.) He gets fired from his job – by one of the film’s three black characters, all of which are minor and incidental – not for being a racist, which everyone in his precinct knows about but shields from everyone, but for throwing someone out of a window. He’s an awful human being, but maybe it’s because his mother, whom he lives with, is awful, too."

"Not that those can’t be seeds from which racism grows, but the ways in which Three Billboards offers excuses for Dixon betrays the film-makers’ intentions. They are not trying to delve into how someone grows up this way; rather, those excuses are employed to give him a redemptive, almost heroic arc."

"The film never holds him to task for brutalizing black Americans in his care – something Three Billboards never portrays, probably because it would be so ugly an act the audience wouldn’t even entertain hopping aboard the redemption train. He imprisons a black woman for days, for no other reason than that she’s friends with Hayes, but the film lets him off the hook for that miscarriage of justice, just as it lets him off for everything else."

Yes, he's racist, but it is never really shown, it's only implied as his "reputation," and I do think that Dixon's redemptive arc at the end was a little too neatly-conceived, but McDonagh's screenplay does try to suggest that he's a changed man and willing to make amends for his bigoted past. It's all done in a quick and surprisingly unsubtle way, the film could have probably used a few more scenes to showcase the evolving nature of this change, and I do believe that is what's riling up the "wokers." They wanted Dixon to prove himself more before he could become the hero. Again, my saying that a few more scenes added in could have helped is important in this context. I do believe this was just clumsy screenwriting on McDonagh's part as he never fully fleshed Dixon enough for us to believe he's on a redemptive path.

So basically as backlashes go, this is supposed to be a non-starter but it won't be. As it stood a month ago, Three Billboards was the frontrunner in the Actress (McDormand), Screenplay category and could have possibly won Best Picture due to its parallels to Trump America. Mark my words: It isn't a contender anymore. Twitter has ruined McDonagh's movie. To which I say, at some point can we just enjoy movies again? Remember "La La Land" last year and how people thought it was "too white" and didn't know anything about Jazz? "Dunkirk" was also accused of not having enough women and minorities. Geez. People do realize WWII was a mostly white war, right?

All this to say, no, I don't think "Three Billboards Outside Ebbing Missouri" is one of the best films of 2017, coincidentally because of how rushed the last third of the film is, but the way it has been treated, just like "La La Land" last year, is very dangerous to the future of film criticism and how writers should think when assessing a particular film with militant political mindsets. 


After Rupert Wyatt and Doug Liman, Director Gore Verbinski Exits “Gambit”

I have a theory about directors and superhero movies, well, it’s not really a theory, it’s actually mostly fact. If you have sense of self-pride or dignity and consider yourself an artist or an auteur, then you won’t sign on to any Marvel or DC blockbuster. It’s as simple as that. Unless, of course, you’re Christopher Nolan and the WB decides to give you complete creative freedom to make a “Dark Knight” trilogy.

Countless filmmakers over the past decade have exited superhero movies, George Miller, Guillermo Del Toro, Ava Duvernay, Edgar Wright, Darren Aronofsky, and Paul Greengrass, to name a few. These aren’t just any filmmakers, they are well-proven, seasoned auteurs that usually try to go into projects with as much creative control as possible, something Marvel and DC refuses to give a director. 

The Playlist has this:

"…and another one bites the dust. If it wasn’t already, “Gambit” is becoming something of a joke on the 20th Century Fox lot. In the works for years, the film has already been through two directors (Rupert Wyatt and Doug Liman), a missed release date in 2016, and had at least one overhaul of the script (thanks to the R-rated success of “Deadpool” and “Logan“). Things looked like they were finally on track when Gore Verbinski (three “Pirates Of The Caribbean” movies, “A Cure For Wellness“) signed up to direct last fall, with Channing Tatum heroically still in the lead role. Even more, a 2019 release date was set with filming slated to start this spring. Well, another bump in the road has been hit."

"Variety reports that Verbinski has exited “Gambit,” once again leaving the cursed superhero movie without a director. There’s no reason for his departure, though the trade says the director “decided against” taking on the movie. There must be more to the story considering production was aiming to start shooting in March, and had even cast Lizzy Caplan in a supporting role. The question is whether or not Fox will try and hustle up another director to step in so they can keep everything on track, or perhaps more wisely, finally throw in the towel. No one is particularly asking for this movie, but then again, they may not want to give up a big tentpole slot next winter. However, with Disney set to take over Fox, maybe it’s just best to let it go.”

DGA Nominees: Gerwig, Peele, McDonagh, Del Toro, Nolan

I predicted it: “Get Out” director Jordan Peele and “Lady Bird” helmer Greta Gerwig made the cut for the Directors Guild of America award. They were joined by Martin McDonagh (“Three Billboards Outside Ebbing, Missouri”), Guillermo del Toro (“The Shape of Water”) and Christopher Nolan (“Dunkirk”).

Gerwig and, let's face it, her historic nod, makes her only the 7th woman to garner a nomination with the DGA. The others: Kathryn Bigelow, Sofia Coppola, Jane Campion, Barbara Streisand, Randa Haines and Lina Wertmuller.

As for Peele, he's only the fourth African American director to receive the honor, after Lee Daniels, Steve McQueen, and Barry Jenkins.

Want snubs? “Call Me By Your Name” director Luca Guadagnino, “The Florida Project” auteur Sean Baker, Dee Rees for “Mudbound,” Joe Wright with the “Darkest Hour,” but, in terms of shock omission nothing beats Patty Jenkins for “Wonder Woman” and Steven Spielberg for “The Post”.

GUILLERMO del TORO The Shape of Water (Fox Searchlight Pictures)

Mr. del Toro’s Directorial Team:

  • Unit Production Manager: J. Miles Dale

  • Production Manager: Dennis Chapman

  • First Assistant Director: Pierre Henry

  • Second Assistant Director: Tyler Delben

This is Mr. del Toro’s first DGA Award nomination

GRETA GERWIG Lady Bird (A24)

Ms. Gerwig’s Directorial Team:

  • Unit Production Managers: Lila Yacoub, Danielle Blumstein, Jamin O’Brien (New York Crew)

  • First Assistant Directors: Jonas Spaccarotelli, Cedric Vara (New York Crew)

  • Second Assistant Director: Brendan Lee, Dana Zolli (New York Crew)

  • Second Second Assistant Directors: Lillian Awa, Teri Barber

This is Ms. Gerwig’s first DGA Award nomination.

MARTIN McDONAGH Three Billboards Outside Ebbing, Missouri (Fox Searchlight Pictures)

Mr. McDonagh’s Directorial Team:

  • Unit Production Manager: Bergen Swanson

  • Assistant Unit Production Manager: Peggy Robinson

  • First Assistant Director: Peter Kohn

  • Second Assistant Director: Paula Case

  • Second Second Assistant Director: Spencer Taylor

This is Mr. McDonagh’s first DGA Award nomination.

CHRISTOPHER NOLAN Dunkirk (Warner Bros.)

Mr. Nolan’s Directorial Team:

  • Unit Production Managers: David Witz, Christine Raspillere (France Unit), Chris Brock (UK Unit), Nicky Tüske (Netherlands Unit)

  • First Assistant Directors: Nilo Otero, William Pruss (France Unit), Willem Quarles van Ufford (Netherlands Unit)

  • Second Assistant Director: Eric Lasko, Nicolas Baldino (France Unit), Alexis Chelli (France Unit), Clément Comet (France Unit)

  • Second Second Assistant Director: Alina Gatti

This is Mr. Nolan’s fourth DGA Feature Film Award nomination. He was previously nominated for Inception in 2010, for The Dark Knight in 2008, and for Memento in 2001.

JORDAN PEELE Get Out (Universal Pictures)

Mr. Peele’s Directorial Team:

  • Unit Production Managers: Marcei A. Brown, Rick A. Osako (Fairhope Unit)

  • First Assistant Director: Gerard DiNardi

  • Second Assistant Directors: Ram Paul Silbey, Marc Newland (Fairhope Unit), Jack McKenna (New York Unit)

  • Second Second Assistant Director: Maggie Ballard

  • Location Manager: Kurt Enger (New York Unit)

This is one of two DGA Award nominations this year for Mr. Peele. He is also nominated in the First-Time Feature Film category for Get Out.

Jason Reitman’s “Tully”

Director Jason Reitman has been very much hit and miss, his best work ("Up in the Air," "Juno, "Young Adult," "Thank You For Smoking.") had that satirical sting that was all-too rare in American cinema, but his his last effort "Men, Women and Children" was TERRIBLE. 

Diablo Cody wrote "Juno," and "Young Adult" and is now pairing up for a third collaboration with Reitman: “Tully.” 

“Young Adult” lead actress Charlize Theron stars in this film, which also has Mackenzie Davis, Ron Livingston, and Mark Duplass.

Official Snyopsis:

"TULLY tells the story of Marlo (Theron), a mother of three including a newborn, who is gifted a night nanny by her brother (Duplass). Hesitant to the extravagance at first, Marlo comes to form a unique bond with the thoughtful, surprising, and sometimes challenging young nanny named Tully (Davis)."

“Tully” opens on April 20th.

Kevin Feige Says Marvel Is Finally Making A “Black Widow” Movie

I have been clamoring for a "Black Widow" movie for years, the cinematic potential of that character is endless, she's a kickass, female spy! Marvel Studios is finally going to make a stand-alone “Black Widow” movie with Scarlett Johansson. Marvel’s Kevin Feige was officially screenwriters until he landed on Jac Schaeffer who will pen the script.

The Playlist describes Schaeffer as "A up and comer who broke out with her Black List with the script “The Shower” –comedy about an alien invasion during a baby shower – Schaeffer earned further buzz when Anne Hathaway loved her screenplay and quickly attached herself to it."

"Johansson has appeared as “Black Widow” six times and first appeared as the character in “Iron Man 2.” ‘Infinity Wars’ would mean two more appearances so perhaps her contract has been extended."

As for the director?

“Thor: Ragnarok” was a vast improvement upon the first two Marvel installments, much of it thanks to director Taika Waititi (“Hunt for the Wilderpeople” and “What We Do in the Shadows”) who infused the proceedings with a healthy dose of wacky meta humor. This latest “Thor” movie followed in the footsteps of “Guardians of the Galaxy,” “Deadpool,” Ant-Man” and, more recently, this past July’s “Spider-Man: Homecoming” by not taking itself so damn seriously. The game-changing 2014 “Guardians of the Galaxy” seemed to have sparked a new attitude in Marvel movies — why be so serious about a movie essentially based on a comic book? DC seems to have gotten the memo as well with this year’s entertaining, highly successful and dour-free “Wonder Woman.”

Waititi has been making the media rounds the last week or so promoting “Ragnarok” and it seems he’s become Marvel’s new golden boy. The 42-year-old New-Zealand-born filmmaker recently spoke about his future with Marvel to io9 and it sounds like the director is open to more MCU. Or at the very least, Waititi sees a lot of comedy potential in a “Black Widow“ movie.

“In all honesty, I reckon I could probably bring something pretty unique to any of the franchises,” he said. “So I’d love to see Black Widow. [I’d like to see] Black Widow as something crazy and a bit funnier than we expect it to be, because we know her story and it’s very sullen and very dark and her history is very dark. But! What’s the funny version of that? What’s the more entertaining version of that?”

In addition to being a kick-ass female character, perfectly played by Scarlett Johansson, who has not been fully explored in the Marvel canon, Waititi is drawn to Black Widow for being underestimated.
“I really go for the underdog,” he explained. “[And] I think there’s a way in with any of the characters. You just have to find it and find what honors what’s already there with the source material but also brings it into a more entertaining form for the audience.”

This all has us very excited about the potential of a visually gifted guy like Waititi continuing his journey with Marvel. Ever since the Widow, aka Natasha Romanoff was introduced to us in 2012’s “The Avengers,” fans have been clamoring for a solo adventure. Her spotlight is way overdue. I’m sure Marvel has kept a close eye on “Wonder Woman” and the success it’s had at the box-office. With Marvel’s first female-led super hero movie on the way in “Captain Marvel,” a “Black Widow” film is a no-brainer decision and we really hope it comes to fruition sooner rather than later.

[Variety]