Once Upon a Time ... in Hollywood (2019) **

Another Tarantino exercise in redemptive nostalgia. Enjoyable if you like vintage cars being driven in vintage LA while listening to vintage songs.

The Lion King (2019) **

The realism of the animation makes the talking and singing animals seem strange and surprisingly silly. Still, some impressively done CGI.

Vagabond (1985) **

In the mode of Wanda, a bleak, uncompromising look at an aimless young woman and her misadventures featuring a compelling central performance. Excellent use of non-actors and well composed shots.

Late Night (2019) *

Rigidly formulaic office comedy commits the most grievous sin: it's not funny. Disappointing waste of Ms. Thompson.

Absolution (1978) **

Combination whodunit and Canon law exercise, maintains interest throughout with superb production design and a good, film carrying performance by Sir Richard.

The Lady Vanishes (1979) **

Ms. Shepherd is the only reason to watch this well meaning remake, but that's reason enough.

Bad Lieutenant (1992) *

A waste of the talents of Mr. Keitel.

Apollo 11 (2019) ****

Well directed doc about the Apollo 11 mission made with high def NASA found footage. Fascinating document of 1969 America and the incredible effort of thousands of people.

Bob & Carol & Ted & Alice (1969) **

Superlative showcase for the lovely Ms. Wood and a so-so social satire about changing 60's relationship mores.

Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019) ***

Three stars for the original footage of the Revue and the factual reconstruction of the time. However Mr. Scorsese adds a number of fictional elements and disguises the fact that they are fictional and only astute viewers with knowledge of 1980's era HBO will be in on it. This is probably in keeping with Mr. Dylan's attempts to obscure his own facts and fictions from way back.

Across the Universe (2007) ***

With any other songs this would be a hardly worth it flick. But it is worth it thanks to The Beatles and Ms. Taymor's directing abilities. Could have been cut by about 30 minutes though.

Kissed (1996) ***

Very well made character study about a young woman with unusual habits let's just say. Well paced and doesn't flinch from the logic of the story.

The Player (1992) ***

Altman is always good, but even better when he has a tight script and that's the case here thanks to Michael Tolkin. The only problem is Tim Robbins in the lead and since he has to carry the picture... Despite that, a terrific eff you to Hollywood execs and producers featuring many stars in cameos.

Autumn Sonata (1978) **

Bleak yes, that's to be expected of Ingmar, but so in the thrall of psycho-babble as to be laughable. Ms. Bergman is beautiful and wonderful as is also to be expected.

The American Friend (1977) **

Was all set to give this 3 stars then the last 30 minutes goes off the rails. Great role for Bruno Ganz and Mr. Hopper is used very effectively.

The Romantic Englishwoman (1975) **

If there was a "tell" between the film's reality and dream reality I missed it. Seemed like a straightforward romantic triangle tale of jealousy with a bit of thriller thrown in. An unsatisfying mish-mash but love the scenes of '75 Europe.

Bottle Shock (2008) **

Just when you think they can't top the last cliché, here comes another even worse. Poorly written but with an appealing cast and some lovely shots of Northern California vineyards. You'll be thirsty before it's over.

For Unk

Empty-handed I entered the world
Barefoot I leave it.
My coming, my going — Two simple happenings
That got entangled.
                              -- Kozan Ichikyo's Death Poem

Toy Story 4 (2019) **

Needless sequel is easily the worst episode in the bunch. Very strong feeling that you've seen all this before. Also the parent characters are extremely annoying. Still, you can get lost in the attention to detail in the background animation.

The Handmaiden (2016) **

It's beautifully shot, the story complex and an interesting twist on the con game genre, but it's too long, repetitious and needlessly over the top in parts.

The Hit (1984) ***

Unconventional road picture goes beyond itself thanks to Mr. Stamp and Mr.Frears.

Double Indemnity (1944) ****

Even with the lackluster casting and the Edward G. schtick, Chandler's screenplay is terrific and Wilder stays out of the way enough to let Fred work.

Youth Without Youth (2007) **

It's a Francis Coppola film so it is well cast and beautifully shot, but ultimately not entirely successful beyond that, at least not upon first viewing.

Let the Sunshine In (2017) **

A luminous Ms. Binoche (looking a good 20 years younger) keeps you rooting for her against a succession of lovers who aren't really interested in her as herself, which ultimately becomes tiresome.

BBC - Future - The poisons released by melting Arctic ice

Around 10% of the carbon that does defrost will probably be released as CO2, amounting to 130-150 billion tonnes. That is equivalent to the current rate of total US emissions, every year until 2100. Melting permafrost effectively introduces a new country at number two on the highest emitters list, and one that isn’t accounted for in current IPCC models. “People talk about a carbon bomb,” says Natali. “In geological timescales this is not a slow release. It is a pool of carbon that is locked away and is not accounted for in the carbon budget to keep rises below two degrees (Celsius).”

Green Dolphin Street (1947) *

Interminably long, cliched melodrama, pure Hollywood schtick, badly miscast featuring one of the longest earthquakes in recorded history.

Smiles of a Summer Night (1955) ***

Superficially it's a romantic comedy but underlying it all is the Bergman relentless truth which is often mistaken for cynicism.

Hairspray (1988) ***

Delightfully goofy fable of early '60's urban mores and how the times they were a-changing thanks to good old rock and roll. Superficially played as farce but the underlying truth is obvious.

The Scapegoat (1959) ***

Troubled production notwithstanding, this is an above average Brit flick with a sneaky ending that may or may not have been intended.

The World of Apu (1959) ***

Not as marvelous as the first two installments, but a fitting conclusion to the Apu Trilogy.

Everybody Knows (2018) ***

Engrossing look at old family wounds and how they never seem to go away despite appearances.

Aparajito (1956) ****

Further examination of the life of Apu just as mesmerizing as the first.

My Name Is Julia Ross (1945) *

Low grade, undistinguished noir totally unbelievable, forgettable.

Nickelodeon Orders 'SpongeBob SquarePants' Prequel 'Kamp Koral'

“‘SpongeBob’ has an incredible universe to expand upon and the greenlight for ‘Kamp Koral’ is a testament to the strength and longevity of these characters known and loved by generations of fans around the world,” said Ramsey Naito, Nickelodeon’s executive vice president of animation production and development.

The series is one of several planned spinoffs for the “SpongeBob” universe, which include potential standalone stories for side characters like Sandy Cheeks and Plankton.

Way to go , Nick. Run it into the ground.

Pather Panchali (1955) ****

Indian neo-realist classic, lovingly photographed, movingly told.

Delirious (2006) **

Steve Buscemi is great but the film is frustratingly too long and scattershot. Could have been a classic.

Bad Timing (1980) **

Beautiful pictures as usual with Nic Roeg and although there's a lot of truth here it is ugly and not very entertaining.

La Truite (The Trout) (1982) **

As much as I like M. Huppert and as good an actress as she is she is miscast here and it makes the film more ridiculous than it needs to be.

The Great Beauty (2013) **

It's trying to say something profound but takes the LONG way around and gets lost.

Ride in the Whirlwind (1966) **

Another attempt at a fresh take on the Western falls short despite the beautiful photography. Feels padded even at 82 minutes.

Elton John: 'They wanted to tone down the sex and drugs. But I haven’t led a PG-13 life' | Global | The Guardian

We were very close right at the start of our career together, but we’re completely different people. He comes from the wilds of Lincolnshire, I come from the suburbs of London. He lives in Santa Barbara and he’s literally won competitions for roping cattle. I collect antique porcelain and the only way you’d get me on the back of a horse is at gunpoint. Neither of us can write if the other is in the room. But there’s a weird bond between us that I felt the minute I opened the envelope – I could just write music to his words straight away, without even thinking about it – and it’s lasted over 50 years.

We’ve had arguments – you don’t want to get him started on the subject of some of my more outlandish stage costumes, or indeed the subject of Don’t Go Breaking My Heart, a song he’s loathed from the minute it was finished and continues to loathe to this day – but we’ve never fallen out, despite all the ridiculous crap we’ve been through.

Queen of the Desert (2015) **

Watchable biopic but it never gets to the heart of the subject. I know the credits say directed by Werner Herzog but there's nothing on the screen to indicate that.

Claire's Camera (2017) ***

Impeccably photographed series of conversations in and about Cannes with the inimitable M. Huppert as our guide.

Five (1951) ***

Features several superbly directed sequences and an overall unsentimental and matter-of-fact tone that allow you to overlook the stupidity of the characters and the overuse of the closeup. Falters in the middle, but has such a good start and finish. Made on a shoestring, the first post nuke apocalyptic flick.

The Fallen Idol (1948) ***

Fine, tasteful adaptation of a Graham Greene story about (what else) an affair, lies, death and guilt. Good script, actors, direction.

Who's Afraid of Virginia Woolf? (1966) **

Good showcase for some fine actors. Could have been trimmed to a more palatable length though.

Wine Country (2019) **

Watchable dramedy about female friendships. Maybe has a couple too many in the ensemble. Suffers from not enough Maya.

Pushover (1954) ***

Nifty noir about a cop on a stakeout who starts to fall for the bank robber's moll. Introduces a stunning Kim Novak.

Doris Day Dead at 97 – Variety

It was also significant because of the ambiguity of certain scenes that could be interpreted as meaning that the central characters slept together before marriage — a first for a Day character and interesting at a time when comedians were calling her the world’s oldest virgin. She was offered the role of Mrs. Robinson in “The Graduate,” which could have gone a long way to modernizing what had become a square image, but turned it down because she thought the sexual relationship was exploitative.

Peggy Lipton Dead: ‘Mod Squad,’ ‘Twin Peaks’ Star Was 72 – Variety

At the height of her popularity in 1968, she released a self-titled album and had a hit in 1970 with a cover of Donovan’s “Wear Your Love Like Heaven.” In her 2006 memoir “Breathing Out,” she describes being abused as a child by an uncle and suffering several abusive relationships. Lipton was romantically linked to Paul McCartney, Sammy Davis Jr. and Elvis Presley.

Bonjour Tristesse (1958) ***

Fantastic Riviera locations enhance this melodramatic look at the love lives of the rich and famous. Mylène Demongeot is a delight.

Muriel, or the Time of Return (1963) ***

Vibrantly photographed examination of how memory, reality and truth get mixed up with time. A puzzle picture that needs multiple viewings.

Fists in the Pocket (1965) **

Bizarre story about a wealthy Italian family and a son with too much time on his hands. Hard to tell if it is a black comedy or straight horror flick. Gorgeous scenery of the hills of northern Italy.

The Biggest Loser | DCReport.org

The story of Trump’s taxes is the story of a man whose lying, cheating, stealing and continual need for cash to sustain the image of a multi-billionaire has made him vulnerable to kompromat. It is the story of a known tax cheat who has taken an oath to uphold and defend our Constitution but ignores that oath, violate that oath.

It is a story whose most salient financial circumstances and connections remain hidden. And they will remain hidden unless we demand transparency not from Trump, who will never be open, but from our Congress.

Billy Liar (1963) **

It's well made with some fine visuals, good performances, but the story makes no sense and neither do the lead characters. Maybe a comment on the incomprehensibility of British young men and women in 1962?

Thor: Ragnarok (2017) **

Comic book flick times 10 but it has good actors who are interesting to watch.

Safety Last! (1923) **

Amusing silent flick showcases some exceptional camera and stunt work.

The Burglar (1957) **

For the first half this is a nifty noir with some novel twists and visuals to the usual genre trappings but it runs out of steam and eventually succumbs.

Lola (1961) **

Similar in sensibility to Umbrellas without the sung dialogue. Confident and stylish for a first feature.

Wanda (1970) **

Cinema verité style character study of aimless woman. Shoestring budget but good use of non-actors and location. The real actors are very good. Bleak, unforgiving.

Chimes at Midnight (1965) ***

Further evidence of Orson's directorial prowess. Could have been trimmed a bit but it builds to a moving conclusion.

The Double Hour (2009) **

It's well acted and produced, but a few too many twists and you stop caring.

So Dark the Night (1946) **

B level noir suffers from mediocre production and a twist that's not all that surprising.

The Umbrellas of Cherbourg (1964) ****

Innovative, original musical, still influential. Kudos to director Demy for sticking the ending.

The Shooting (1966) **

Good try at an existential Western features good performances (especially Mr. Oates), well photographed, but the script falls apart.

Logan's Run (1976) **

Cheesy, campy attempt at the cynical sci-fi so prevalent at the time. Doesn't hold up well.

I Married a Witch (1942) *

Ham fisted attempt at screwball comedy is nearly unwatchable. Relies heavily on the charisma and chemistry of the stars of which there are neither.

The Truth About Woody Allen (Part I) | This Mortal Coil

I know these details get real boring, real fast. But once you study it, you see how even the custody decision has been misrepresented by the Farrows and their followers. Granted, none of this suggests that Woody falling in love with Soon-Yi was a smart move, but, you know, it happened, and the fall-out was massive, but they remain together and have raised two normal, healthy kids. As for Mia, out of her ten adopted kids, two are permanently estranged, and three are dead — two from suicide, and the third died in poverty. Mia also has one brother who committed suicide, and another brother who’s in prison for multiple counts of child molestation. The dysfunction in that family runs very deep, and has nothing to do with Woody and Soon-Yi.

Living in Oblivion (1995) **

Amusing movie about making movies and all the perils therein. Almost makes it to something more.

Rosebud (1975) **

Anti-terrorist procedural starts off great and the attention to detail is at first compelling but soon starts to bog down the picture. Finally it becomes a pro-Israel propaganda piece. Unfortunate since Mr. O'Toole and Ms. Huppert (so young!) are fun to watch.

The Fantasticks (1995) **

This is a very well made rendition of the long running off broadway musical. Unfortunately the songs (except for the finale of course) are quite forgettable and the story is paper thin. It's still beautifully shot and imaginatively directed.

Cold War (2018) **

Nicely shot in crisp black and white but the central love story fails to convince.

The Origin of Consciousness in the Breakdown of the Bicameral Mind by Julian Jaynes | Goodreads

But over and behind these and other causes of science has been something more universal, something in this age of specialization often unspoken. It is something about understanding the totality of existence, the essential defining reality of things, the entire universe and man's place in it. It is a groping among stars for final answers, a wandering the infinitesimal for the infinitely general, a deeper and deeper pilgrimage into the unknown. It is a direction whose far beginning in the mists of history can be distantly seen in the search for lost directives in the breakdown of the bicameral mind.

Green Book (2018) *

Well acted Hollywood white savior claptrap masquerading as "inspired by true events" biopic. No wonder Spike was so upset at the Oscars.

Greta (2018) **

The great Ms. Huppert sadly underused in this ludicrous thriller.

Dressed to Kill (1980) ***

Enjoyable to watch because it's shot well and it's fun picking out all the Hitchcock tropes being re-done here, even the clunky ending explanatory scene. Ms. Allen was never better.

Gumshoe (1971) ***

Half-hearted attempt at a Chandler update features a stellar cast lead by the great Mr. Finney who makes a good Marlowe.

Neuroscientists read unconscious brain activity to predict decisions — Quartz

Though this is just one study, it’s not the first to show that thoughts can be predicted before they are conscious. As the researchers note, similar techniques have been able to predict motor decisions between seven and 10 seconds before they’re conscious, and abstract decisions up to four seconds before they’re conscious. Taken together, these studies show how understanding how the brain complicates our conception of free will.

Neuroscientists have long known that the brain prepares to act before you’re consciously aware, and there are just a few milliseconds between when a thought is conscious and when you enact it. Those milliseconds give us a chance to consciously reject unconscious impulses, seeming to form a foundation of free will.

Bad Lieutenant: Port of Call New Orleans (2009) **

Nic Cage does a good job in an offbeat take on the "bad cop still does good" genre as unpleasant as that is.

Leave No Trace (2018) ***

A terrific performance anchors this spare, uncompromising tale of a man who just can't abide people any more and the toll it takes on his daughter. Director Granik understands that sometimes the less said makes the film about more than the plot.

Strangers on a Train (1951) ***

A supremely creepy Robert Walker steals the show in this noir thriller that frankly wouldn't be that much without him. Not even master director Hitchcock can make amateur tennis exciting but he gamely tries.

The Magnificent Ambersons (1942) ****

Even in its truncated, clumsily edited final sequence version this is a wonderful example of great ensemble acting. Script and direction better than Kane and one of Welles' best films.

A Star Is Born (2018) **

The first half is better, but overall an undistinguished bit of film making. Well deserved Oscar for best song.

Diary of a Mad Housewife (1970) ****

At the start it strikes you as an over the top satire of domestic relations but thanks to the sharp script and superb performances you come to realize it's merely being observational. Great film.

High Flying Bird (2019) **

Talky, mid-level Soderbergh with some terrific actors and some terrific camera or should that be phone work. The pictures look great even if the flick isn't.

Peter Tork of the Monkees Dies at 77 – Variety

“I have said this before — and now it seems even more apt: the reason we called it a band is because it was where we all went to play,” Nesmith continued. “A band no more, and yet the music plays on, an anthem to all who made the Monkees and the TV show our private — dare I say ‘secret’ — playground. As for Pete, I can only pray his songs reach the heights that can lift us and that our childhood lives forever — that special sparkle that was the Monkees. I will miss him — a brother in arms. Take flight my Brother.”

Shoplifters (2018) ***

Sort of a Japanese Oliver Twist with exceptional performances and the deft touch of a master filmmaker.

Emoji are showing up in court cases exponentially, and courts aren’t prepared - The Verge

The different depictions of emoji across platforms also poses a problem in judicial rulings. For example, depending on what type of phone you’re using, the “gritting teeth” emoji might look a lot different. Not only are emoji designed differently across smartphone platforms, but people interpret the same emoji differently. An earlier design of the grinning emoji on iOS, for example, was interpreted as being far more negative than the same emoji displayed on other platforms.

Despite the potential for emoji to be interpreted in a wide array of ways, emoji experts don’t really exist. “Emoji usually have dialects. They draw meaning from their context. You could absolutely talk about emoji as a phenomenon, but as for what a particular emoji means, you probably wouldn’t go to a linguist. You would probably go to someone who’s familiar with that community, just like they did with the sex trafficking case,” Goldman says.

At Eternity's Gate (2018) *

Maddeningly mis-directed biopic of Vincent van Gogh, painter of some of the loveliest works ever. Such a shame the movie is shot so dark and hazy, jumbled hand held camera work obscuring the fine performances.

Bruno Ganz Dead: Actor Who Played Hitler in ‘Downfall’ Actor Was 77 – Variety

In addition to delivering one of the definitive cinematic portrayals of Hitler, Ganz played an angel who gives up immortality to experience earthly pleasures in Wim Wenders’ classic film “Wings of Desire” (1987). He reprised that role in Wenders’ 1993 follow-up, “Faraway, So Close!”

His celestial performance was so memorable that Ganz once recounted how people ascribed special powers to him when they recognized him in public.

“People in planes said: ‘Ah, no need to be afraid, because with you here, nothing can happen. Now we are safe,'” Ganz told the Danish film journal P.O.V. “Or a mother said to her child: ‘Look, there’s your guardian angel.’ They weren’t joking.”

Walk on the Wild Side (1962) **

Entertaining southern soaper with some nice performances and a pretty good script. Could have used some cuts and the shot quality is uneven. Why on Earth would you soft focus Capucine?

Velvet Buzzsaw (2019) **

Slick slasher flick with some digs at the art world. A bit too long but visually sharp and Jake does a nice job.

Doctor Zhivago (1965) ***

Sturdy Lean epic shows off a luminous Ms. Christie and Omar playing yet another Russian. Superior soap opera with a bit of "history" thrown in.

Albert Finney Dead: ‘Tom Jones’ Star Dies at 82 – Variety

Rebellious even in his later years, Finney reportedly declined a CBE (Commander of the Order of the British Empire) in 1980 and a knighthood in 2000. “The Sir thing slightly perpetuates one of our diseases in England, which is snobbery,” he said.

Finney was married three times, the first time to British actress Jane Wenham, the second to French actress Anouk Aimee. Survivors include Finney’s third wife Pene Delmage, whom he married in 2006; son Simon Finney, a film technician from his marriage to Wenham; and son Declan from his relationship with Katherine Attson.

In a 1984 interview with the New York Times, Finney reflected on his role in “The Dresser.” He noted that performances, particularly those on stage, have an ephemeral quality, but he insisted that didn’t depress him.

“What a lot of people spend their lives doing may not add up to a hill of beans,” said Finney. “But their love, effort and devotion goes into doing it, and it becomes worthwhile.”

The Tamarind Seed (1974) **

Spys in love but the leads have zero chemistry and the script is no help. It looks pretty though and it's an interesting time capsule of early 70's life such as the near constant cigarettes! Still don't get why producers thought Omar could pass for a Russian.

Mother! (2017) ****

Searing, personal mythology from intense filmmaker Darren Aronofsky could have been a pretentious mess but it works thanks to a tight script, brisk pace and a top notch cast especially JLaw who is up to the daunting task. Unforgettable and Aronofsky really nails humanity to the wall here. Brilliant.

Mary Queen of Scots (2018) **

Well made period piece which emphasizes gender dynamics for contemporary relevancy (but doesn't belabor the point). The emphasis on cast diversity however is very distracting. This can work in a theatrical performance but film is not as forgiving unless the director makes it clear what the point is.

Downsizing (2017) **

Despite being a well put together film, featuring a breakout performance and the always interesting (and prolific!) Udo Kier, it's a little disappointing given the obvious effort and epic length.

Disobedience (2017) **

Strong leads in an interesting look at what freedom means in a closed (and very wealthy) religious community in London.

Why Shoot the Teacher? (1977) **

Bud Cort shines in this period piece from the Depression era Canadian hinterlands and how a fresh-faced city boy copes.