The other day I was chatting with a friend, who wanted to see the new film “Conclave,” but has since decided he doesn’t have to. Why? Because someone ruined it for him. He told me that a person he knows, a fellow who apparently doesn’t understand the meaning of the word spoiler when it comes to movies, gave away the secret twist that ends “Conclave,” which is now the most talked-about release of the film year that’s slowly winding down. The drama about the Vatican is proving to be quite popular and has, as they say in the business, box office legs.
I was incredulous. “Do you still talk to him,” I asked. “Is he still your friend?” They do talk, but as far as I’m concerned, the chap is an enemy of cinematic enjoyability, that’s for sure. As I wrote a couple of weeks ago, “Conclave” is a very good, well-made movie about the election of a new pope that really does define the word “entertainment.” I never reveal twists or endings, and I think doing so is unconscionable. While watching “Conclave,” I was intrigued by a key character, who, as it turned out, was essential to the surprise. And that’s still all you’re going to get from me on the subject. Don’t let anyone tell you what happens.
With its hit status, Academy Award nominations are assured for “Conclave,” including for best picture, director, screenplay, production design, sound, editing, music score, and performances by Ralph Fiennes who plays the cardinal overseeing the papal election (best actor), Stanley Tucci as a second very important cardinal (supporting actor), Isabella Rossellini as a nun essential to the voting process (supporting actress), and — almost an Oscar-winning certitude — the film’s costumes.
“Conclave” proves once again that when talented people come together and do good work, the motion picture experience can be truly magical. This is the type of middle-budget feature the major studios need to return to creating. It cost $20 million, and everything the money paid for is on the screen.
However, what happens when despite everybody having done a good job, an executive at a very high level at the studio decides to be a grinch? Throughout history, movie ideas have been scrubbed, and completed films have been shelved. An egregious recent example is the sending into oblivion of the female-centric “Batgirl,” which was killed by Warner-Discovery-HBO (or whatever they’re calling it these days) by the order of David Zaslav, a fellow who apparently isn’t overly fond of interesting creativity. Remember, his biggest cable television success was a piece of dreck titled “Naked And Afraid.”
Zaslav continues to be a philistine. He’s been quoted in the press as saying at a meeting about a film that failed — one that was made by a man who is loyal to, and popular at, the studio — “It’s called show business, not show friend.”
Zaslav gave his OK to the plan that legendary, four-time Academy Award-winning director-producer Clint Eastwood’s 40th directorial effort, “Juror #2,” would play in only 35 movie markets in North America, including Canada. Eastwood is a remarkable filmmaking legend, who is associated with dozens of extraordinary films, including as actor and music composer. He deserves better. “Juror #2” will supposedly arrive on HBO and HBO Max around Christmas, although no date has been set, which is quite insulting to Eastwood’s many fans. The unfortunate contempt Warner Bros. is showing both Eastwood and movie lovers is grotesque.
A major hit in Europe, “Juror #2” could be Eastwood’s last film. He turned 94 years old in May. Hollywood isn’t known for treating its elderly royalty well. The legal thriller is written by Jonathan Abrams and is receiving positive reviews in the limited places where it has been playing, including in Toronto, our neighboring city to the north. The feature stars Nicholas Hoult, Toni Collette, Gabriel Basso, Chris Messina, Zooey Deutch, J. K. Simmons, Kiefer Sutherland, and Francesca Eastwood, Clint’s daughter.
In Toronto, those fans who love the public movie-going experience can see “Juror #2” at the Varsity Theatre in the Bloor Street-Bay Street area. An advisory: if you do plan on driving up the QEW and the Gardiner Expressway to Toronto, the heavily-trafficked highway drive is no longer 90 minutes from Buffalo-Niagara, including the stop at customs at the border. Plan for two hours, at minimum. Additionally, the ongoing reconstruction of the Gardiner means it squeezes into two lanes for an extended stretch of roadway.
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Closer to home, the gleaming new Buffalo AKG Art Museum has some wonderful, oversized paintings by German-born artist Anselm Kiefer in its collection, including the powerful “Die Milchstrasse” (“The Milky Way”), which was painted between 1985 and 1987 and extends 12.5 feet by 18.5 feet. If the Kiefer works are not currently on view, you can satisfy your interest in him by watching the exceptional 3D documentary “Anselm” from The Criterion Collection, which is directed by the celebrated filmmaker Wim Wenders, who has three Academy Award nominations for documentary feature to his credit.
With “Anselm,” Wenders delivers a dynamic and mesmerizing portrait of Kiefer, who is one of the most inventive and vitally important painters and sculptors of the modern era. Shot in 6K resolution, and presented theatrically and on Blu-ray in 3D, “Anselm” is a rare immersive cinematic experience for home viewing. The feature explores the astonishing beauty of mythology, human existence, and landscape, all the while examining the horrors of a nation’s history and seeking to overcome the post-war silence in Germany during which both Kiefer and Wenders came of age.
Through the prism of wonderful archival footage, unique biographical scenes, and direct access to his subject at work in France where he now resides among his dazzling creations, Wenders traces the totality of Kiefer’s career as he chronicles the artist’s superb engagement with creativity that will rivet and excite you.
The Criterion Collection package includes two discs, one a Blu-ray with the 3D version and the other a Blu-ray with the film and extras, including a new interview with Wenders. The DVD edition is not in 3D.