Rachel, Rachel. Link, Link.

Rachel Rachel! No not the 1968 Oscar nominated Paul Newman / Joanne Woodward movie. But Weiz and McAdams. They're set to co-star in a Jewish lesbian romantic drama Disobedience. Good luck to whichever lesbian romantic drama with A list actresses has to follow Carol. Is this the next one that'll see release?

Other Clickables
NPR in the wake of Ben Affleck's stupidly titled The Batman, 27 better titles
Theater Mania Mulan will be the next Disney toon to get a live action remake. In 2018
The Guardian Leonardo DiCaprio states the obvious that is weirdly not obvious to many people on earth: climate change deniers should not hold public office 
Variety Laverne Cox, Ava DuVernay, Helen Mirren, and Scarlett Johansson will all be honored at Variety's Power of Women event on Oct 14th
In Contention a look back at The Departed's "non campaign campaign" for Oscar glory
Comics Alliance Iron Fist has a first teaser just as we're reaching oversaturation with Marvel's Universe
The New Yorker an amazing piece on the Nat Turner story and The Birth of a Nation
/Film FX's great animated series Archer will end with Season 10
AV Club Mahershala Ali, having a great year with Luke Cage and Moonlight, may get the prime villain gig in Alita: Battle Angel
MNPP Armie Hammer photos from an army thriller called Mine
Variety Westworld gives HBO great opening numbers
Coming Soon in honor of Westworld, 13 weird westerns
Towleroad another famous gay proves to be a right-winger blinded by his own privilege and idiotically thickheaded about what causes hate crimes. Lucian Piane of RuPaul's Drag Race --oy!
Playbill Wicked stars Idina Menzel and Kristin Chenoweth both released new albums last week. Both hit the Billboard top 40 albums 

Finally...
Interview Magazine talks to the incomparable Parker Posey on her improvisatory work with Christopher Guest (including the new Netflix film Mascots premiering October 13th)

Parker Posey photographed by Craig Mcdean for Interview

Some of these scenes last, like, 15 minutes. And it's so disappointing when you see the final cut. You bring so much of your life and your story, and then it's just whittled away, you know? Chris likes his movies to really fly, to leave the audience wanting more—which is the rule of comedy. So his movies are kind of short. I like a three-and-a-half-hour documentary. I like Frederick Wiseman, Grey Gardens[1976] ... I'd love these movies to be so much longer than they are. You should see what Jane Lynch and Ed Begley Jr., and Michael Hitchcock and Don Lake come up with, by the minute. 

Warren Beatty Called in a Few Favors

The new trailer to the Howard Hughes whatsit Rules Don't Apply starring Lily Collins and Alden Ehrenreich has arrived. It's written, directed, and produced by co-star and Hollywood royalty Warren Beatty as the eccentric billionaire previously played by Leonardo DiCaprio in The Aviator.

Have you heard from people that I'm crazy?

Why yes, Warren we have. We see you've called in a few favors, too...

Click to read more ...

NYFF: Manchester by the Sea

From the New York Film Festival here's Jason on the new film from Kenneth Lonergan.

The scene that we've been waiting for all during Manchester by the Sea comes pretty much where you might expect it to, that climactic slot about 3/4ths of the way in right where stories usually come to a head. And yet, and yet, the way that it comes showcases what makes Kenneth Lonergan such a fascinating writer and director. The way we get to this emotional head is typically, for this director, winding - the film is suffused with flashbacks that don't so much announce themselves as they do sneak in through the window and climb into bed beside you, surprise spooning you til sunrise. So when this climax comes where it should come, well that in itself is a surprise, but one you only notice in hindsight.

But it's more than that. Without going into specifics about what happens, what's so fascinating about this scene (and I'm using it as a microcosm for the whole film here) is how it lays there in wait in the broad daylight for its sneak attack. It just happens. And in Lonergan's hands this feels like the sweet hard mess of real life - broken boat motors and a bumped head; the moments where we catch up while our friend is bringing the car round and suddenly the world around us crumbles. Miniature hurricanes that don't announce themselves but sweep you up and slam you down without actually moving you an inch.

Manchester by the Sea is awash in such flashes, such sudden floods. Casey Affleck gives an astonishingly light performance of utter devastation. We spend the film putting together the puzzle of him only to find out the puzzle is broken and the pieces are vanishing in our hands as we gather them up. The actor makes us gather faster, and gather harder. He makes us want to sort it out alongside him. That his performance and the film are so much much funnier than you're anticipating only makes its foundation of bottomless grief all the more vertiginous - it is, like honest-to-goodness life, disorienting with drilled deep possibilities of goodness, and honesty, and pain.

NYFF: Everything Else

Manuel reporting from NYFF on an Adriana Barraza star vehicle.

Everything Else
Natalia Almada's Everything Else (Todo lo demás) is a portrait of a woman in the most literal sense. The movie, which runs 98 minutes, has very little plot and is focused instead on observing (keenly, empathetically, near-obsessively) the life of Doña Flor. A no nonsense government worker by day with very little life outside the desk she occupies daily and the apartment she shares with her cat, Doña Flor (played by Babel's Oscar nominated Adriana Barraza) is not lonely, per se. But she does seem disconnected from the life around her; in Barraza's face you can see the weariness of her life without the contempt stories about childless spinsters usually inspire. Almada gives Barraza no more than 50 lines in the entire film, plunging us for stretches at a time in a silence that rattles for the very comfort it depends on. She's interested in watching Doña Flor and, in doing so, sketches out a woman perhaps like many others and yet entirely herself.

That the quiet peeks at her life are punctuated by news reports (often out of frame and unintelligible) about violence against women and close ups of the women she encounters on the train, across her desk, and at the public pool she visits, make clear that Almada's near dialogue-free project wants to think about the state of Mexican women today without doing anything more than showing (there is so little telling).

The effect is hypnotizing though whether you follow along for the ride depends on your patience for such a small scale story with such a self-consciously deployed structure. And yet, every time Barraza is on screen, you're reminded why she remains such an underutilized actress; she doesn't carry the film as much as she inhabits it, losing herself in the mundane life depicted, another face in the crowd.

Doc Corner: Netflix's Big Oscar Push

A flurry of documentaries are having their premieres on Netflix and in their own way serve as glowing examples of the positives and the negatives of the streaming platform. Netflix made an impression very early in their life as original content providers; the Academy’s documentary branch has already warmed to their productions and acquisitions. They deserved the statue for The Square in 2012 (losing to music doc 20 Feet from Stardom), and proved their keen eye (and deep pockets) were no fluke with subsequent nominations for Virunga (losing to Citizenfour), What Happened Miss Simone?, and Winter on Fire (both losing to music doc Amy) 

This year it’s entirely feasible to imagine an Oscar line-up with five Netflix titles. I can't imagine the doc branch ever letting that happen, but they have the product and it’s looking entirely possible they could finally win in a memorable and game-changing first. But what about the films themselves: Into the Inferno, Amanda Knox, and Audrie & Daisie?

Click to read more ...