Pinoy Sentry (2024)

30/11/2022

It’s only natural that for every 80 sunny Christmas films released each year there’s a few that start with a frown.

“Violent Night” fits that bill, and then some.

Crass, cynical and drowning in blood, this “Night” is no one’s idea of a seasonal delight. It’s still smart enough to scratch that Scrooge-like itch, powered by an actor who finds the right balance between “John Wick”-style mayhem and sticky sentiment.

“Stranger Things” star David Harbour is Santa Claus – yes, the genuine article. He’s drowning his sorrows in a British bar as the story opens, exhausted by greedy kids brimming with ingratitude.

Parents know the drill, remembering their kids opening a Christmas gift before instantly crying, “what’s next?”

He’s thinking about hanging up his red hat when he’s embroiled in a life-or-death struggle. A wealthy family’s home is invaded by John Leguizamo and a team of armed-to-the-teeth thugs. They want their hands on the clan’s cash, but matriarch Beverly D’Angelo isn’t budging.

That leaves a divorced couple (Alex Hassell and Alexis Louder) and their adorable daughter (Leah Brady) who still believes the Big Guy can save them all.

And, once we see a prologue of Santa’s curious past as a Viking warrior, he just might.

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Director Tommy Wirkola brings a mixed resume to “Violent Night.” His “Dead Snow” didn’t find that horror-comedy sweet spot but its sequel, “Red vs. Dead” sure did. And his underrated 2021 thriller, “The Trip,” made the divorce romp “The War of the Roses” look quaint by comparison.

Here, he’s aided by a good enough script from Pat Casey and Worm Miller. Their screenplay offers some legitimate gut busters, making the ensuing ultra-violence go down smoothly. The former couple’s potential reunion isn’t wasted, dramatically speaking, and every time sweet Leah Brady graces the screen the story’s sentimental side soars.

“Violent Night” might have found a home during the 1980s given the groan-worthy Christmas puns littering the screen. Harbour sells them all, a miracle unto itself, and he makes the film’s “violent” tonal shifts matter, too.

That’s no small feat given the film’s absurdly high body count.

This hard-R thriller still wants it both ways. It’s part “Nobody,” part “A Christmas Story,” with an homage to “Home Alone” dumped into the storytelling blender.

RELATED: ‘FATMAN’ IS THE CHRISTMAS COAL NO ONE WANTED

Leguizamo’s character rants against the rich, again, just weeks after his “Menu” satirically scorched the one percenters. It’s Hollywood’s favorite, and laziest, target, and all the more curious given the actor’s Hollywood run.

If the always-busy Leguizamo hasn’t amassed a small fortune by now he better fire his agent. Stat.

No bloody Christmas tale should be stretched to nearly two hours like “Violent Night” is. And by the final reel we’re exhausted by Harbour explaining away plot contrivances with a cheeky “Christmas magic” explainer.

Still, those seeking a chaotically comic alternative to the season’s sweet treats will find “Violent Night” delivers just that.

HiT or Miss: “Violent Night” is more than a cheeky film title. It’s a bloody-soaked attempt to turn Ol’ St. Nick into a John Wick for the holidays.

The post ‘Violent Night’ Delivers on Its Blood-Splattered Premise appeared first on Hollywood in Toto.

It’s only natural that for every 80 sunny Christmas films released each year there’s a few that start with a frown. “Violent Night” fits th...

29/11/2022

Jay Leno made replacing a legend look easy.

Johnny Carson ruled late night television for 30 years via NBC’s “The Tonight Show” before Leno succeeded him. Carson’s run that may never be repeated, and that’s assuming late-night TV survives in its current form.

That’s a big “if” given how Stephen Colbert and friends have turned the format into wall-to-wall propaganda.

Leno recently made headlines for all the wrong reasons. He suffered third-degree burns from a Nov. 14 garage fire where he stores his massive car collection. He spent 10 days in the hospital but shortly after his release returned to the stand-up stage and cracked wise about the accident.

Jay Leno jokes about being a ‘roast comic’ in return to standup stage https://t.co/yuQzkSAnTz pic.twitter.com/CUf9wXoiRu

— New York Post () November 28, 2022

His swift recovery is a good excuse to revisit his late-night days. Many wish he was still making us laugh five nights a week.

Leno got his feet wet by filling in for Carson on “The Tonight Show” before officially taking over in 1992. Once Leno assumed the throne, he never looked back. He kept “The Tonight Show” at the top of the ratings heap, year in, year out.

His secret? He didn’t alienate red or blue state viewers.

His monologues, delivered with a panache forged from years behind the mic, hit both sides of the aisle. He reserved the sharpest blows for the current Commander in Chief, no matter the party affiliation. The focus stayed on the comedy, not petty partisan points.

That was the Carson model, and Leno stuck to the script.

RELATED: LORNE MICHAELS WON’T COME CLEAN ON ‘SNL’ BIAS

Media critics never took to Leno. He wasn’t as hip or edgy as his late-night frenemy, David Letterman, even though Leno regularly beat his CBS rival.

Leno’s gentle approach also won him few converts. News outlets preferred harder-edged talents like Louis C.K. or Dave Chappelle, at least before the woke revolution consumed comedy.

Leno left the late-night arena twice, both times seemingly under duress. NBC tried replacing him with Conan O’Brien, a comedian with a quirkier subset of fans, in 2009. Leno moved to the 10 p.m. hour, a disastrous double switch the Peacock network eventually reversed.

O’Brien took the brunt of the fall out, eventually moving to TBS to lick his wounds and revive his career.

January 22, 2010: Conan O’Brien’s last The Tonight Show episode after a big controversy over the Tonight Show timeslot. pic.twitter.com/uhmOjKoGsM

— DrPopCultureBGSU () January 22, 2022

NBC pushed Leno out for good in 2014, installing the younger Jimmy Fallon to age-proof the franchise. Fallon proved a snug fit, bringing musical chops and a knack for impressions with him.

And, most importantly, Fallon kept his ratings lead on Letterman’s replacement, Stephen Colbert.

That didn’t last.

The Trump era gave late-night comedians the signal to embrace their liberal impulses. That, plus Trump Derangement coarsing through Team Democrat, gave Colbert the edge over Fallon’s milquetoast manner.

The “Saturday Night Live” alum is now a regular third or fourth place finisher in the late-night wars. Fallon’s Colbert-lite approach, ignoring jokes that paint Democrats in an unflattering light, is proving disastrous to the “Tonight Show” mantle.

Bet NBC is missing Leno now.

FAST FACT: Leno served as a writer on the hit CBS sitcom “Good Times” before embarking on a stand-up career.

Seen today, Leno’s reign is even more remarkable. He didn’t embrace fads or anger from his “Tonight Show” perch. He stayed mostly the same, relying on his decades worth of stand-up experience to power the show.

He avoided the cutesy characters that marked the Carson era. No Aunt Blabby or Carnac the Magnificent. His best bit, Jaywalking, turned a dumbed-down generation into a punch line.

Would Leno change his apolitical ways if he had lasted to 2022? The pressure to do so would be intense. Are there any late-night writers brave enough to tweak President Joe Biden or Rep. Nancy Pelosi?

Could Leno coax them to try?

It’s likely Leno would have played along for a while but slowly looked for an exit ramp. His comic principles wouldn’t mesh with today’s clapter mantra. Leno told his fair share of lousy jokes over the years, but they all had good intentions.

For Leno, peddling partisan gags wouldn’t have been worth the fat paychecks. He’s content to host “Jay Leno’s Garage” and perform stand-up as if he didn’t have millions in the bank already.

Colbert and co. have no such qualms, apparently.

Leno’s motto remained simple then and now. Write joke. Tell joke. Collect check. Simple. Direct. And with a hearty respect for the customer.

That, more than any other element of Leno’s legacy, is missed the most today.

The post We Never Appreciated Jay Leno’s Late-Night Reign appeared first on Hollywood in Toto.

Jay Leno made replacing a legend look easy. Johnny Carson ruled late night television for 30 years via NBC’s “The Tonight Show” before Len...

28/11/2022

Helena Bonham Carter has appeared in some of the biggest movies of the past 30 years, but she’s still not a household name.

Think the “Harry Potter” franchise, “The King’s Speech” and “Fight Club.”

“The Crown” co-star may prefer it that way, giving her the chance to play a variety of roles without the paparazzi breathing down her neck.

Her status lends her less job security, though, which is important in fickle Hollywood.

So her comments on several hot button issues come as a surprise. Stars typically lay low on such topics, fearing the kind of Cancel Culture blowback that can stall, if not doom, one’s future.

Bonham Carter either doesn’t fear the mob or doesn’t care.

The British actress slammed Cancel Culture in no uncertain terms in a chat with The Times UK.

“Do you ban a genius for their sexual practices? There would be millions of people who, if you looked closely enough at their personal life, you would disqualify them. You can’t ban people. I hate cancel culture. It has become quite hysterical and there’s a kind of witch hunt and a lack of understanding.”

Bonham Carter moved on to J.K. Rowling, the mind behind the “Harry Potter” book and film franchise. The actress played Bellatrix Lestrange in four films in the saga, and she’s outraged that the woke mob has been hounding Rowling for so long.

Rowling’s sin? She disagrees with elements of the trans community, a stance which has led to serial attacks on her career and character.

“It’s been taken to the extreme, the judgmental-ism of people. She’s allowed her opinion, particularly if she’s suffered abuse. Everybody carries their own history of trauma and forms their opinions from that trauma and you have to respect where people come from and their pain. You don’t all have to agree on everything — that would be insane and boring. She’s not meaning it aggressively, she’s just saying something out of her own experience.”

“Potter” regulars like Emma Watson and Daniel Radcliffe have joined the attacks on Rowling over her trans comments. A recent “Harry Potter” reunion barely featured Rowling.

Bonham Carter suggests those trying to cancel stars like Rowling and Johnny Depp often have ulterior motives, and they’re far from flattering.

“So I think there’s a lot of envy unfortunately and the need to tear people down that motors a lot of this cancelling. And schadenfreude.”

The post Bonham Carter Shreds Cancel Culture, Stands Up for J.K. Rowling appeared first on Hollywood in Toto.

Helena Bonham Carter has appeared in some of the biggest movies of the past 30 years, but she’s still not a household name. Think the “Harr...

27/11/2022

“The Heat Is On,” sings Glenn Frey in the opening minutes of “Beverly Hills Cop.”

The Eagles superstar wasn’t kidding.

“Beverly Hills Cop” did more than become 1984’s biggest grossing film (although most of its earnings came in 1985 given its Dec. 1984 release date). It cemented Eddie Murphy’s super stardom and cranked out several pop ditties along the way.

“Neutron Dance” – The Pointer Sisters

“New Attitude” – Patti LaBelle

“Stir It Up” – Patti LaBelle

Even Axel Foley’s Mumford Phys. Ed. T-shirt become a hot ticket.

Sequels followed, of course, and a fourth installment is in production. None, to date, have captured the original’s spark.

How could they?

“Beverly Hills Cop” nailed everything that made the 1980s wonderful to most save Quentin Tarantino.

Star Power

Eddie Murphy proved he was a movie star with 1982’s “48 Hours.” That action comedy translated his “Saturday Night Live” chops to the big screen and foun him holding his own with Nick Nolte.

Now, it was time for Murphy to fly solo.

The 1980s routinely build films around colorful screen personalities. Think Whoopi Goldberg (“Jumping’ Jack Flash,” “Burglar,” “Fatal Beauty”), Steve Martin (“Roxanne,” “Dead Men Don’t Wear Plaid,” “The Man with Two Brains”) and Chevy Chase (“Fletch,” “Funny Farm”).

Murphy enjoyed his own string of solo projects (“The Golden Child,” “Coming to America”), but none proved as effortless as “Cop.”

Rebels with a Cause

The ’80s were all about defying authority, be it the scientists saving New York City in “Ghostbusters” to Bill Murray’s rebellious soul in “Stripes.”

Axel Foley can’t stop breaking police procedures in “Cop,” and at every step that proves to be the right call. The film’s finale finds his unofficial partners Taggart and Rosewood (John Ashton and Judge Reinhold) picking up his knack for rule bending.

That’s the celebrated character arc in the film, and it fits right into the ’80s mindset.

Politically Incorrect

Axel Foley will do whatever it takes to nail the bad guys. If that means acting like a spurned gay lover, so be it. That scene sprang from Murphy’s imagination, earning him the admiration of director Martin Brest.

Axel’s quest begins with him investigating the death of his old friend, an unrepentant thief (James Russo).

This was the ’80s, a time when comedies followed the funny without any kind of hand wringing. “Cop” isn’t as aggressively unawoke as, say, “Sixteen Candles,” but the action comedy never walks on eggshells.

The Story Made Sense

Today’s screenwriters want to dazzle us with their brilliance. That leaves films with intricate plots that offer surprises, twists and other tics that can leave audiences woozy. It’s a 21st century convention, and too many movies follow that path.

Some screenwriters ape it with panache, like Christopher Nolan’s “Inception.” Many others deliver screenplays far too knotty for their own good.

“Beverly Hills Cop” is straight down the middle. Axel drives to Beverly Hills to avenge his old friend’s death, only to discover an art tycoon trafficking in smuggled goods. The Oscar-nominated screenplay lets Steven Berkoff’s villain reveal his treachery scene by scene.

You don’t need a roadmap to follow the story, and that lets the characters and humor take center stage.

It Almost Had Stallone

The “Beverly Hills Cop” project languished in development hell for years, with stars like Mickey Rourke briefly attached. The decade’s biggest action star, Sylvester Stallone, wanted to make “Cop” his next blockbuster hit.

To do so, he took out some of the comedic elements and spiked the R-rated action beats. It wasn’t enough, though, and the “Rocky” star left the project days before cameras were set to roll. He later used some of the concepts he brought to the screenplay on his 1986 cop thriller “Cobra.”

What could be more ’80s than Stallone’s flirtation with the film?

Introducing Harold Faltermeyer

The German composer wrote the addictive “Axel F.” theme that did more than power the story. It proved instantly iconic. Just a few bars are enough to evoke the ’80s to even the casual movie goer.

Ask Peter Griffith of “Family Guy” fame.

Faltermeyer’s sound gave the decade its identity. He provided music for other ’80s gems, including “Fletch” and “Top Gun.” Others emulated that style over the years, but Faltermeyer’s best work keeps Axel and friends hopping.

The post Why ‘Beverly Hills Cop’ Is the Perfect ’80s Movie appeared first on Hollywood in Toto.

“The Heat Is On,” sings Glenn Frey in the opening minutes of “Beverly Hills Cop.” The Eagles superstar wasn’t kidding. “Beverly Hills Co...

26/11/2022

Writer/director Rian Johnson is too clever for his own good.

The man who helped tank “Star Wars” but revived the mystery genre via “Knives Out” returns with his new muse, Daniel Craig.

“Glass Onion: A Knives Out Mystery” reunites the pair for a mystery involving Big Tech, greed and the fraying bonds of friendship.

It’s a frothy affair, one perfect for our dystopian time. Except Johnson can’t leave well enough alone and he shows a weakness for ham-fisted finales.

Craig returns as Benoit Blanc, the Southern fried sleuth who apparently has a gay live-in lover. That element is introduced early and ignored, a virtue signal of the highest order.

Benoit and a group of colorful types (Agatha Christie would be proud) gather at a tech gazillionaire’s expansive retreat.

Why?

Miles Bron (Edward Norton, welcome back!) hosts an annual affair along with his inner circle of “disruptors.” It’s an excuse to gather a hodge podge of eccentrics played to the hilt by Dave Bautista, Kate Hudson, Leslie Odom, Jr. and more.

The weekend’s main event? A murder mystery set in motion by Miles. What he doesn’t realize is someone might take the “murder” part of the game seriously.

RELATED: WHY ‘YOUNG SHERLOCK HOLMES’ NEVER BECAME A CLASSIC

“Glass Onion” starts on a sour note as several key characters don COVID-19 masks before entering Miles’ Greek retreat. It’s an awful reminder of the lies and death we recently endured, and the inclusion makes little sense.

Plus, If Benoit is as smart as we’re led to believe, why is he masking up outdoors?

Johnson’s tonal misstep is shoved aside once we’re in Miles’ realm. The screenplay locks in, establishing the characters with a zippy spirit brimming with well-earned laughs.

Mysteries shouldn’t be this much fun, but that’s the “Knives Out” brand.

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The screenplay lets Johnson traffic in some rich observations, and Benoit’s keen eye makes everything more satisfying. He’s poking fun at the rich, again, but the screenplay never slows to wag its finger at his characters.

Too bad the story involves a major rewind feature which slows the giddy momentum.

Janelle Monae gets the juiciest role as Miles’ ex-lover, someone whose motivations stir the film’s first act. Her story expands dramatically over time, giving “Glass Onion” its prickly soul.

Norton makes sure Miles doesn’t ape Mark, Elon or any other obvious big tech type. He’s boastful but sweet, a man at peace with his wealth and eager to share it with chums.

His taste in disruptors, though, leaves plenty to be desired. Hudson’s character, an air headed influencer, hardly seems worth a second glance. That’s just one of many in-jokes peppering the story and giving “Glass Onion” its texture.

It’s similarly a blast to spend time on Miles’ estate. It’s a gorgeous setting for a mystery, filled with sprawling gardens and an interior suggesting endless escape routes.

What Johson assembles, though, often feels like a screenwriter’s wonderland that increasingly detaches itself from the human experience. Just because you can concoct an intricate puzzle of death, deception and mayhem doesn’t mean it will register with audiences.

“Glass Onion” wraps on a noisy note, betraying the sophistication Johnson works so hard to establish in the film’s bloated running time.

Less is always more, something Johnson and his mystery franchise have yet to learn.

HiT or Miss: “Glass Onion: A Knives Out Mystery” is as fun as the original, but we’re already getting the sense this franchise doesn’t know when to quit.

The post ‘Glass Onion’ (Mostly) Delivers on Its Franchise Potential appeared first on Hollywood in Toto.

Writer/director Rian Johnson is too clever for his own good. The man who helped tank “ Star Wars ” but revived the mystery genre via “Knive...

25/11/2022

It’s safe to say most Hollywood denizens loathe Elon Musk.

The Tesla billionaire’s car line hasn’t wooed progressive stars. Instead, they look past his company’s eco-impact and focus on his passion for freer speech.

Musk’s Twitter takeover allowed many “banned” accounts back on the platform. He’s more interested in stopping child predators than silencing voices.

That’s a bridge too far for folks like Stephen King, Jack White, Whoopi Goldberg and others who either are fleeing Twitter or blasting Musk for his brief but consequential Twitter reign.

Coming back twelve hours later to prove how not bothered I am. pic.twitter.com/mmWJl617oj

— Cody Johnston () November 23, 2022

Musk has plenty to do given his business ventures, but he spends an inordinate amount of time Tweeting to his heart’s content. He’s alternately funny and bruising, sharing business insights and quizzing users on the next steps he might take on Twitter.

This week, Musk revealed he has a keen grasp of modern Hollywood and, to use his words, the “woke mind virus” infecting it.

The billionaire weaponized that phrase earlier this year to blast Netflix for its dubious content decisions, one reason the streaming giant’s fortunes fell early in 2022.

Now, Musk is calling out the entertainment industry for a similarly twisted agenda.

RELATED: PAUL SCHRADER BLAST ELON MUSK FOR EMBRACING FREE SPEECH

He started the discussion by asking Twitter users what they thought about the “culture war,” a loaded term that can mean anything from God in the classroom to drag queen story hours for pre-teen audiences.

Many responded, of course, given Musk’s nearly 119 million followers. One account, , offered this suggestion.

I think the Right needs to start funding more artists, filmmakers and writers instead of politicians and super-PACs.

You don’t win a naval war without any ships, and you can’t win a culture war without any culture.

We’ve been reacting too long. Time to go on the offensive.

Musk responded.

I am neither conventionally right nor left, but I agree with your point.

The woke mind virus has thoroughly penetrated entertainment and is pushing civilization towards su***de.

There needs to be a counter-narrative.

— Elon Musk () November 25, 2022

That counter narrative is already happening, albeit in modest measures.

Angel Studios is bypassing Hollywood gatekeepers to create family-friendly content that uplifts, not divides. Think Dry Bar Comedy, “The Chosen” and next month’s “The Wingfeather Saga.”

“The Chosen: Season 3” recently upended conventional thinking by coming in third at the U.S. box office.

The Daily Wire is full steam ahead with its entertainment division, which currently features films like “What Is a Woman?” “Terror on the Prairie” and “Run Hide Fight.” Next year, the conservative platform will debut its children’s programming line, meant to entertainment without a progressive agenda.

Editor’s Note: This reporter is a freelance contributor to The Daily Wire

Rebel comedians like Tyler Fischer, Ryan Long, Steve McGrew and Chrissie Mayr use alternative platforms to tell jokes outside the comic mainstream. The Babylon Bee routinely serves up laughs that won’t be shared on “Saturday Night Live” or late-night TV.

RELATED: BIG TECH IS CRUSHING CONSERVATIVE COMEDY

In a way, Musk can personally help the counter-narrative he mentioned thrive.

Some of the aforementioned comics have faced Big Tech Censorship for telling the “wrong” kind of jokes. The Daily Wire’s Matt Walsh throws sharp elbowed commentary on social media, the kind that rubs Tech titans the wrong way.

The Babylon Bee refused to remove a satirical Tweet earlier this year and found its account frozen until Musk reinstated it.

Making Twitter a more level playing field will help fresh stories flower on not just social media but the greater content landscape.

Musk is no movie star. He proved a good sport in 2021 by hosting “Saturday Night Live,” but won’t be headlining any stand-up tours in the near future.

His posture on free speech, though, could be a treatment for La La Land’s woke mind virus.

The post Elon Musk Drops a Bomb on Woke Hollywood appeared first on Hollywood in Toto.

It’s safe to say most Hollywood denizens loathe Elon Musk. The Tesla billionaire’s car line hasn’t wooed progressive stars. Instead, they l...

22/11/2022

When Jeff Dunham tells a joke, he knows there’s an entire country willing to hear it.

Dunham, the most successful ventriloquist of the modern era, doesn’t alienate Red or Blue state Americans. His shtick is meant for everyone, no matter one’s race or background.

And he’s making a killing in the process.

Sold-out global concert tours

Best-selling books

A star on the Hollywood Walk of Fame

Sold-out venues where acts like Taylor Swift play

A Guinness Book record for Most Tickets Sold for a Stand-Up Comedy Tour

So when the host of Netflix’s “Beside Himself” talks comedy, it’s worth taking notes. The ventriloquist spoke to “CBS Mornings” about his current tour as well as his thoughts on partisan humor.

“[A] lot of comedians have now—they pick a side. And then they start name-calling and pointing fingers and calling the other side idiots. So what that does is you eliminate half the audience,” he said.

He didn’t name names. We all know them by heart. Colbert. Kimmel. Fallon. Meyers. Oliver. Noah.

RELATED: DUNHAM’S ‘FIRESIDE SHATS’ POKES FUN AT BIDEN (FINALLY)

Fellow late night host Bill Maher, who leans to the Left, has expanded his comic base in recent years by telling jokes aimed at the Left. That only proves Dunham’s point.

“I think there’s an easier way--a better way of just making a little fun of everybody because I think most people in this country have a decent sense of humor … people from the left [and right] come to my shows and everyone has an equally good time.”

Comedians like Johnny Carson, Jay Leno and Bob Hope told jokes for everyone, he says. Their legendary careers speak for themselves.

Dunham follows in that tradition, and he’s become fabulously wealthy as a result.

The aforementioned hosts aren’t pinching pennies at the moment. TV platforms pay them handsomely for their “clapter.”

They could draw much bigger crowds, and fatter paychecks, if they followed the Dunham model. Even a numbskull like Bubba J knows that.

The post Jeff Dunham Proves Partisan Comics Leave (Lots of) Money on the Table appeared first on Hollywood in Toto.

When Jeff Dunham tells a joke, he knows there’s an entire country willing to hear it. Dunham, the most successful ventriloquist of the mode...

21/11/2022

Some actors virtue signal to their hearts’ content but rarely take real-world action.

Not Mark Rylance.

The Oscar-winning actor from “Bridge of Spies” ended his 30-year relationship with the Royal Shakespeare Company to protest BP’s sponsorship of its arts programs.

“I do not wish to be associated with BP any more than I would with an arms dealer, a to***co salesman or anyone who wilfully destroys the lives of others alive and unborn. Nor, I believe, would William Shakespeare,” he said.

The actor, knighted in 2017, also supports groups like the Stop the War Coalition and Artists for Palestine. That progressive activism seems a natural fit for the current Cancel Culture revolution.

Except Rylance fears the cultural tide far more than he embraces it.

The actor, most recently seen in “The Outfit, told Positive.News why the push to improve society comes with risks for a working actor. He fears a workplace conflict where one person’s accusations can trump the truth.

“I’m now looking at how to make a contractual requirement in places where I work, because I don’t feel safe.” The contract he envisages, would mean that, “If anyone in the workplace, man or woman, is accused of saying something, they’re judged by their peers. There should be a committee in the West End … made up of union members and peers, who hear both cases.

Law breakers must be dealt with, of course, but these issues involve colleagues and various interpretations.

“The cancellation culture is too merciless and puritan for me. There should be the option of mediation, the chance for the accused to apologise and to redeem themselves. We cannot, in our human consciousness, decide that someone is past redemption.” Rylance adds: “Eventually, love and forgiveness is the only way through.”

The post Oscar-Winner Mark Rylance on Cancel Culture – ‘I Don’t Feel Safe’ appeared first on Hollywood in Toto.

Some actors virtue signal to their hearts’ content but rarely take real-world action. Not Mark Rylance. The Oscar-winning actor from “Brid...

20/11/2022

The New York Times covered Harvey Weinstein’s fall with a fervor usually reserved for GOP politicians … like Donald Trump.

So it makes sense that “She Said,” the true story behind the New York Times’ expose of Weinstein’s crimes, starts with accusations against the real estate mogul.

The Oscar-bait film, which tanked during its opening weekend, offers a look at modern journalism in more ways than one. The drama shows it functioning at the highest levels, speaking truth to power while acknowledging the impact stories have on both abusers and victims.

“She Said” also reminds us journalism is broken beyond repair. Focusing on a rare example of reporters at their very best can’t disguise that truth.

It’s not the movie’s fault, of course. The blame falls squarely on institutions like The New York Times and The Washington Post who put partisanship, and power, above the facts.

RELATED: SPIKE LEE: FAKE NEWS SPREADER

“She Said” delivers on its promise, showing the rigorous work that helped expose Weinstein’s decade-long run as a Hollywood predator. The performances click, the real-life parables matter and the presence of Ashley Judd, one of Weinstein’s real-life victims, transcends the medium.

Did Judd ever dream she’d be throwing dirt on the grave of Weinstein’s career in a major Hollywood film? It doesn’t make up for the hurt and anguish, but it’s impossible not to cheer her inclusion.

It’s equally hard not to let other real-world narratives interrupt the story.

Reporters Jodi Kantor and Megan Twohey (Zoe Kazan, Carey Mulligan) follow journalistic best practices nearly every step of the way. They don’t jump to conclusions but keep their minds open. They work tirelessly to get critical facts on the record, using background interviews to prepare them for the larger truths.

And they refuse to hit publish until they’ve done everything possible to confirm their investigation’s accuracy.

Wonderful.

Now, consider how the media actually works today. We see Fake News story after Fake News story peddled without care or consequences by most, if not all, the major news outlets.

Need a short list?

The Covington Catholic scandal

The Russian Collusion hoax

The “Very Fine People” hoax

Justice Brett Kavanaugh’s r**e accusations

Hunter Biden’s laptop is “Russian disinformation”

Today’s reporters scramble to get stories out first, pushing caution and cynicism aside. So many narratives are too good to check, too delicious to reconsider with the necessary levels of skepticism.

Let’s not forget the stories we don’t read or see across our smart phone screen.

They are legion.

It took weeks, and weeks, before major news outlets picked up Tara Reade’s sexual assault accusations regarding then-Presidential candidate Joe Biden.

Reporters scoffed at the Hunter Biden laptop report without dedicating any resources to proving its “Russian disinformation” roots. Then, long after the final 2020 presidential votes were tallied, the same outlets sheepishly admitted they got it wrong the first time around.

No apologies. No soul searching. No course correction.

Hollywood has a long history of celebrating journalists on the big screen. They’re truth tellers, selfless souls who sacrifice everything to get to the truth. And, sometimes, that’s accurate.

The modern journalist is too often a propagandist, or someone who stays silent as his or her fellow scribes cover what matters most … with a pillow to paraphrase IowaHawk.

Now, we know the truth. They’re hopeless partisans, cheerleaders for the DNC who will aggressively look the other way if a progressive behaves badly. They’ll hide a world leader’s muddled mental state and savage reporters who dare reveal the truth about a Democratic hopeful.

The creative team behind “She Said” isn’t responsible for journalism’s free fall. And to put the necessary context into the film would be unwieldy at best.

Audiences know better, though, at least those who sample alternative media outlets and keep their minds wide open to fallacious narratives.

That helps explain the film’s abysmal box office results. And, rest assured, few media outlets will note the audience’s exhaustion with Fake News when reporting “She Said’s” box office belly flop.

The post What Must Be Said About ‘She Said’ appeared first on Hollywood in Toto.

The New York Times covered Harvey Weinstein’s fall with a fervor usually reserved for GOP politicians … like Donald Trump. So it makes sens...

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