"Three Colors: Red" at 25

by Lynn Lee

Transfixed.  Transported.  Exhilarated.  These are words I don’t use lightly when I’m talking about movies, but they all apply to my reaction the first time I saw the final installment of Krzysztof Kieslowski’s Three Colors trilogy.  And in large measure they still do.  Even if the initial wonder has given way to a comforting familiarity, few films capture the universal human yearning for connection and kinship (or fraternité, the unifying theme of Red) as vibrantly yet delicately as this one.

I first saw Red some years after its initial release, at a special screening at the university I was attending.  I went in knowing very little about the film except that the friend I went with had seen it before and spoke of it in glowing terms.  He noted that in an ideal world I’d have seen the preceding chapters, Blue and White, but thought I’d enjoy Red even without having done so.

He was right. 

In fact, I occasionally wonder if Blue and White – both of which I admire rather than love – suffered by comparison when I saw them later.  Perhaps I’d have a different take if I’d watched the trilogy in the intended order.  But I don’t think it would have altered my strong personal affinity for Red, which quickly became one of my all-time favorite films...

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Major shakeups in the Best Supporting Actress race

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There's a ton of movement on the new Best Supporting Actress Oscar prediction chart. Laura Dern and Jennifer Lopez might be all locked up but that's for nominations, the win is still very much anyone's game. Florence Pugh has been gaining momentum with Little Women more heavily screening now and the fact that she takes a well worn familiar character and suddenly makes her freshly fascinating. The Academy would never touch MidSommar but enthusiasm for her leading performance there in critical quarters doesn't exactly hurt her prestige factor since she's still a relative lesser known in Hollywood. Meanwhile in the Oscar darling realms of voting, early screenings of Richard Jewell in Los Angeles have prompted suspicion that Kathy Bates might finally be back in an Oscar lineup (it's been 17 years since her comic turn in About Schmidt brought her her third and to date final nod). Perhaps we shouldn't have plopped her right into the lineup so soon but if we have misjudged we'll adjust next week after screening the picture. 

Also rising in the charts this time: 75 year-old newbie Zhao Shuzhen (The Farewell), Oscar winner Octavia Spencer (Luce), and fresh revelation Taylor Russell (Waves) who all netted important Spirit nominations this week. 

Review: Frozen II

By Tim

Frozen, the 2013 feature from Walt Disney Animation Studios, is one of the decade's most extreme success stories: it's the highest-grossing film of the decade that's neither a remake nor a sequel, as well as the highest-grossing animated feature in history (depending on where you set the definition of "animation"; this summer's all-CGI remake of The Lion King bumped it down a notch). Even given Disney's historical reluctance to produce theatrically-released sequels, it's not really much of a surprise that the studio has succumbed to the temptation to chase that blockbuster with a six-years-later follow-up. And so it is that Frozen II is upon us.

The biggest question facing the film is, of course, "does it live up to the original?" And I do wish that I had a less wishy-washy answer than "maybe." A lot depends on what you think about Frozen: for me, it's the third-best of Disney's three original princess movies this decade, behind 2010's Tangled and 2016's Moana, largely because of what a shambling wreck it becomes as the story structure loosens in the second half. Frozen II has the same problem, but in reverse: the first half of the movie feels more like script notes than a script, scene after scene in which neither the stakes, nor the locations, nor the emotions, nor the narrative momentum seems to carry through. Then, at a particular point midway – the particular point depicted in the film's dramatic teaser trailer, no less – everything snaps into focus and the plot and mood suddenly seem like they make sense, more or less. Which is irritating, because it means that talking about everything Frozen II does well would bring us into spoiler territory, and thus this review is going to involve a lot more complaining than the film necessarily deserves...

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Parasite's loot and other Palme d'Or winner returns

Let's marvel again at the success of Parasite in US release, but this time in the context of Palme d'Or winners. Parasite is just one notch away from being the 10 highest grossing Cannes winner of all time (at least as far as contemporary box office reporting goes). It's already the most successful Palme d'Or winner of all time among the non-English language winners. 

Box office figures aren't readily available before the 1970s so we started in 1970 -- there are a few winners since then with no US box office results which means they either weren't ever released in the US or were somehow not reported. It's also worth noting that these numbers are not adjusted for inflation so we're assuming that either MASH or Apocalypse Now which bookended the 1970s would actually top the list as the highest grossing Palme d'Or winner ever. Figures are only domestic (USA) totals.

TOP GROSSING PALME D'OR WINNERS IN THE U.S.
figures as of January 26th, 2020

1. Fahrenheit 9/11 (2004) $119.1
2. Pulp Fiction (1994) $107.9
3. Apocalypse Now (1979) $83.4
4. MASH (1970) $81.6...

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The Fake-arite

by Jason Adams

I'm not sure what the current status is on The Favourite director Yorgos Lanthomis' adaptation of the 1964 Western novel Pop. 1280 from author Jim Thompson -- it was announced as his next film all the way back in February but nothing's been said since and it's not on his IMDb page right now -- but now we know what else Yorgos has got in the pipeline, at least. 

Yesterday Deadline reported he's turning his formidable talents towards the small screen for a limited series adaptation of David Gilbert's book The Man In The Rockefeller Suit: The Astonishing Rise and Spectacular Fall of a Serial Impostor, which tells the true-life story of "Clark Rockefeller," whose blue-blood lineage became unraveled once his suspicious wife Sandra began pulling at threads.  

The story was already turned into a Lifetime movie in 2010 starring Will & Grace actor Eric McCormick and ER actress Sherry Stringfield, which is just about the most "2010 Lifetime Movie Cast" I can imagine. Yorgos' take will be a little more complicated than whatever those folks came up with though, probably, one would guess. A film adaptation's been floating around for a bit -- Benedict Cumberbatch was attached at one point but no word now if he still is. Who might you cast as this chap: