Kenny

Excellent piece in today’s LA Times (by the theater critic) on script-derived problems with CMBYN (and Three Billboards): “But the love story between Elio and Oliver, the visiting student, is hampered by the casting of Armie Hammer, who resembles not so much a budding archaeologist with a deep knowledge of philology but a junior associate at Goldman Sachs with a wad of traveler's checks in his preppy shorts. Hammer's Oliver seems too old, too confident and too blunt for the delicate affair whipped up for him. The erotic adventure of the young men is art-directed to be poetic (secret foot massages!) rather than convincingly candid. "Call Me by Your Name" wants to depict sexuality given a furlough from societal prohibitions, but the film would rather not delve into the psychology of the closet. Identity politics needn't be rigidly brought into the story, but sexuality and selfhood seem to have only a passing acquaintance here. It's a fantasy for those afraid of their fantasies. .... More problematic is the handling of Elio's father (played by Michael Stuhlbarg with his dependable dexterity), who lives vicariously through his son's sexual awakening. He has been supervising Elio's sentimental education like a paternal, voyeuristic Flaubert. Near the end of the film after Oliver has returned home, Professor Perlman passes along some sage words to his son about treasuring the quickly fading springtime of passion. "Call Me by Your Name" would rather generalize this romantic wisdom than explore its neurotic origins in the professor's walled off homoerotic desire. Perlman lives in a morgue of good living that the movie confuses with timeless philosophy. All the sexy cinematography is ultimately a subterfuge, a mythological screen to divert attention from a more shadowy story of cowardice and compromise. The endless scrutiny of Chalamet's face as it shades from innocence to experience through the pain of loss makes for a striking finale. But the profundity of "Call Me by Your Name" is shallow. The house is full of books and literary references are strewn about like confetti, but the overriding sensibility is more decorative than dramatic — Merchant-Ivory for the age of Instagram.” I think the review is exactly right (and bound to be a minority opinion!).

You forgot the Ringling.

Thank you for posting.

Having lived in Europe myself, I was shocked by your examples. Apparently it has eluded you that reproductions of Van Gogh are not actual Van Gogh. As for that wonderful exhibit at the Corcoran of famous paintings made 3-D, those are complete junk. The hack who makes them is J. Seward Johnson, heir to the Johnson & Johnson fortune, who has more money than talent. If he spent his money more wisely, perhaps donating to museums, maybe the Corcoran would still be open. I appreciate actual art, not copies and gimmicks. It’s a shame you can’t.

Say it isn’t so! Angel is (was?) very talented, worked professionally for several chiropractors, and is (was?) extremely nice. His family lives in Guam; so, when he disappeared, I assumed he had moved back.

Ya gotta have a gimmick, as they say, and this sure had one. It’s pretty, but not much more. I’m not a fan. Film has no surface, only a picture of one, and Van Gogh is all about the surface, about the stroke of thick paint on canvas, about the physical touch that he craved from another human but could not receive.

“Much” is indeed relative. Great script, several A+ performances, but some pretty serious flaws too. (The two big ones: miscasting Hammer; conventional Hollywood storytelling.) It deserves the nomination but not a win.

Coco! A definite winner.

This is even pervier than the age difference.

Actually it won't win because other movies are a.) much better, and b.) full of industry stalwarts who the Academy knows. (The latter is part of the reason -- and only part -- that James Ivory will win for his terrific script adaptation.)

Remarkable movie, powerfully engaging evocation of war's cruelty and insanity with (and despite) almost no background on any character. The scenography and cinematography are incredible. I didn't expect to like it, but was knocked out by the film-making.

Horrible movie with really good songs.

"Call Me By Your Name" will win a single Oscar: James Ivory, Adapted Screenplay. "Get Out" should win Best Picture, but won't. (Too inventive.) Nor will "Dunkirk," which is brilliant, or "Phantom Thread," which is brilliant. "Three Billboards" will, because Hollywood loves the flashy and totally improbable social-theme picture, plus its reliable cast. Laurie Metcalf should win Supporting Actress, but Allison Janney will (flashier role). More?

"Call Me By Your Name" will win a single Oscar: James Ivory, Adapted Screenplay. "Get Out" should win Best Picture, but won't. (Too inventive.) Nor will "Dunkirk," which is brilliant, or "Phantom Thread," which is brilliant. "Three Billboards" will, because Hollywood loves the flashy and totally improbable social-theme picture, plus its reliable cast. Laurie Metcalf should win Supporting Actress, but Allison Janney will (flashier role). More? (Just realized I'm not in the Movies section, so I will move this over there.)

The reference was to casting Armie Hammer, who is in his 30s, not 24, and looks it. Nice try though.

If you think priests’ victims “have all reached puberty,” you have not been paying attention. Jeez.

Hardly.

The first gay bar I ever went to had little pencils and notepads scattered about. The notepads had Trick Sheet printed across the top. You could write down a name and phone number for later retrieval. (I always meant to ask the bar tender, with whom I had a fling, where they got them printed, but never did.) I haven’t been inside a gay bar in years, but I imagine smart phones have made trick sheets into rare and valuable antique collectibles.

I’d like a “Where are they now?” episode, where the guys track down Fab5 makeovers from a decade ago and then remake the inevitable shambles they have likely become.

That’s not politics. That’s history. (Step away from the *shift* key. Step away from the *shift* key.)

C Chan is 27, Hanyu is 23, Fernandez is 26. Chen is 18. Let’s see how he grows.

He landed five, put a hand down on a sixth. Still remarkable, especially since a couple came after the 2 minute mark.

Hanyu was very impressive in the final skate, but he should have been docked points for that hideous costume.

The Urban Dictionary: FRUIT 1. some one who is a flaming flamboyant homosexual

Just like Miss America twirling batons.