Justin Timberlake acquits himself as an actor in Woody Allen’s “Wonder Wheel,” a gorgeous looking drama that offers Kate Winslet in an Oscar buzzy performance, and Jim Belushi as a breakout possible Supporting Actor nominee.

“Wonder Wheel” doesn’t open until December 1st, but it won raves last night at the closing of the New York Film Festival. Allen and Winslet waved to the audience at Alice Tully Hall from a box high above, but declined to accept kudos at Tavern on the Green, where they were absent. But Timberlake and Belushi were happy to make the scene, as well as Tony Sirico and Steve Schirrippa, the two former Sopranos who make a cameo in the film.

Justin was accompanied by his beautiful wife, Jessica Biel, who just wrapped her USA TV series. They are happy as clams, and Jessica raved about their two and a half year old son, Silas.

But when I asked Justin what to expect at his Super Bowl performance come February, I was surprised by the answer. “There’s no announcement,” he said. (Funny– so much time had passed I thought this was all done. Last year the NFL announced Lady Gaga on September 29th.) He and manager Rick Yorn each shook their heads. “No, nope, no, the NFL is still having issues of course with kneeling,” Justin said. “There is nothing to announce.”

So, that’s a downer.

But “Wonder Wheel” — which I see is dividing press who saw it this week– I feel is a strong drama with moral twist that will surprise the audience. Winslet is extraordinary in her transition through the arc of the film. And her work in the third act will yield her many nominations and awards.

Is “Blade Runner 2049” a hit? Uh, no, not really. The Ryan Gosling future adventure is just clearing $100 million worldwide– $50 mil US, $50 mil all in everywhere else. Sounds good, but “2049” probably cost $200 million. And it’s already fallen to number 3 in the US behind a cheapo horror movie, “Happy Death Day,” from Jason Blum. “Happy Death Day” cost $5 million to make, and has already earned $11.6 million.

PS There is no one you’ve ever heard of in “Happy Death Day.” But I have– Ruby Modine, daughter of Matthew Modine and his great wife, Cari. Ruby is a talented actress and singer songwriter. Mazel tov! This is just the beginning for her. Her brother, Boman  Modine, is working all the time as a 1st and 2nd director on shorts. He’s also producing a new feature for release next year. “Stranger things” have happened! What a family!

Meantime, Simon Curtis’s “Goodbye Christopher Robin” had a great opening night very limited release from Fox Searchlight. The story of how A.A. Milne created Winnie the Pooh and Christopher Robin– whom he named after his own son– is a wonderful, charming film that will stay with you. Domhnall Gleeson is superior as Milne, and his scenes with the younger actors who play Christopher are remarkable. Kelly MacDonald is a stand out as Christopher’s nanny. And Margot Robbie makes for a beautiful, detached and humorous Mrs. Milne.

Fox Searchlight threw quite a shindig for “Goodbye Christopher Robin” at the New York Public Library on Thursday night. I tried like crazy to find out from Domhnall what he’s going in “The Last Jedi.” “Very tricky!” he declared. “You’ll never get it out of me!” Robbie, 27, has become something of a movie mogul. She’s producing films everywhere. “We even have a television division,” she told me.

I told Margot my running joke. Because she was so effective explaining the plot of “The Big Short” in a broken fourth wall in that movie, I think she should be added to every confusing film as on screen Director of Information. She doesn’t even have to be in a bathtub. “I could just be drinking tea,” she said, laughing. Imagine her in most of 2017’s films. Box office would go right up!

The Wall Street Journal is reporting the obvious: The Weinstein Company is soon going to shut down and sell off its assets. They have no choice. Bob Weinstein and David Glasser activated a doomsday mission when they apparently cooperate in the ousting of Harvey. There was no way the company could go on, even with a different name.

But the end of TWC in the middle of awards season is tougher on the filmmakers than on the executives, all of whom have lots of money and real estate.

Right away, the biggest loster is “The Current War” with Michael Shannon and Benedict Cumberbatch. It didn’t play that well in Toronto. Harvey was trying to “fix” it with with a re-edit. But then all hell broke loose. Director Alfonso Gomez-Rejon may never see a finished cut he’s happy with make it to theaters.

Really in a worse situation is “The Upside,” directed by Neil Burger adapted from the French hit “The Untouchables.” This comedy played really well in Toronto. Weinstein had it set for a last week of December qualifying run for the Oscars followed by a March release. Burger and the all star cast deserve better than oblivion. Any studio could pick this up and do well.

But then there’s “Mary Magdalene,” starring Rooney Mara and waiting for an Easter 2018 release. Garth Davis directed “Lion,” so there’s a lot of buzz here. Will “Mary” be sacrificed?

Also up in the air would be “Paddington 2.” The sequel to the original hit is set for January 12th. But again any studio can pick this one up, too.

What will New York be like without the Weinstein Company? Very, very different. Even though TWC was in decline, it was still a presence.  There was no movie business here at all before Miramax. Young people or people with short memories don’t realize this. But they will now.

At the Hollywood Bowl this past Monday night, Angelina Jolie– along with 17,000 adoring fans — feted her longtime friend, the esteemed 83 year old animal activist Jane Goodall. The occasion was the recent premiere of the exquisite documentary, National Geographic’s “Jane.”

Director Brett Morgen– who also helmed “Kurt Cobain; Montage of Heck” and “The Kid Stays In The Picture”– does a masterful job telling the story of this true pioneer who began her work with chimpanzees 50 years ago.  Goodall’s unassuming nature combined with her fierce will and honesty makes her and this glorious doc mesmerizing to watch.  The film comprises 16 mm color footage shot during the early years by Jane’s eventual husband Hugo van Hawick. It was thought to be lost until it was discovered 2014 in the Nat Geo archives. Phillip Glass’s gorgeous, emotional score is nothing short of award worthy.   

Goodall spoke before the screening to the packed crowd: “I hope you can all spread the word.  We need to get together to save the planet. I’ll never get tired of telling this story to do whatever I can.” After the screening, the pioneer expressed her appreciation.  “I wish I could embrace every single one of you.  I want to thank you for being here. I hope you had a wonderful time.”

This doc will be hard to beat come Oscar time. Like the real Jane, this film is singularly unique. “Jane” will in limited release in theaters on Oct 20^th. 

Harvey Weinstein may be gone from his company, and at the end of his run with the Academy Awards. But his rein over the Oscars comprises 30 years– three decades of his taste changing the movie awards and reinventing them. Prior to 1989, Oscars were won by the studios– Warner Bros, Paramount, Fox, Universal, MGM, etc. Indie companies had rare victories (“Tender Mercies” or “Annie Hall”).

The first Best Picture nomination for Miramax was “My Left Foot” released in 1989. At the 1990 Oscars, Daniel Day Lewis won Best Actor. Brenda Fricker won Best Supporting Actress. And there were nominations for Jim Sheridan for Best Director and Best Adapted Screenplay. Also that year, “sex lies and videotape” was nominated for Best Screenplay and Best Supporting Actress for Laura San Giacomo.

The next year, “The Grifters” picked up four nominations — Director (Stephen Frears), Best Supporting Actress (Annette Bening and Anjelica Huston) and Best Adapted Screenplay (Donald E. Westlake). Suddenly, Miramax– a word no one in Hollywood had before– was becoming a problem.

What followed was an avalanche. “The Crying Game” got six nominations and one win. “Passion Fish” had two noms. Then came 8 nominations in 1994 for “The Piano” with three wins– Best Actress (Holly Hunter), Supporting Actress (Anna Paquin) and Best Screenplay (Jane Campion). “Pulp Fiction” came next, then “Bullets Over Broadway” (7 noms, 1 win for Dianne Wiest).

The Hollywood establishment wasn’t happy. Who were these people from New York scooping up awards? Bu the truth was, Weinstein’s taste (and that of his exceptional staff) had already changed Hollywood. It wasn’t just the Oscar nominees. The other releases, too, like “Like Water for Chocolate,” “The Long Walk Home,” “Mediterraneo”– all of them were top notch, first class, beautifully made. “Cinema Paradiso” put Miramax on the Oscar map for Best Foreign Film. Everyone talked about “The Cook, The Thief, His Wife and Her Lover.” Everyone. Tarantino’s “Reservoir Dogs” was a milestone launch of a new director. “Clerks” became the template for indie films. “Priest” was controversial.

And then came “The English Patient.” Anthony Minghella’s watershed epic won the 1997 Best Picture and 8 other Oscars. It was nominated for a total of 12. It became a recurring joke on “Seinfeld.” I will never forget all the winners and nominees, plus people like Mick Jagger and Keith Richards pouring into the Mondrian Hotel for the studio party that night. Sunset Boulevard was totally blocked. It was madness, with A listers clamoring for invites. That was the watershed.

All together, Miramax scored 68 Oscars during its run including Best Picture wins also for “Shakespeare in Love,” and “Chicago.” Robin Williams, Michael Caine, Judi Dench, Juliette Binoche, Gywneth Paltrow, Catherine Zeta Jones all took home gold. So did Roberto Benigni for “Life is Beautiful” — 4 wins at the 1998 Oscars with a total of 7 nominations. Cate Blanchett won Best Supporting Actress in 2004 for”The Aviator,” which had 11 nominations. In between there were Best Picture nominations for “Chocolat,” “Cider House Rules,” “Frida,” “In the Bedroom,” “Finding Neverland.” And of course there was “Good Will Hunting,” which put Ben Affleck and Matt Damon on the map with a Best Original Screenplay Oscar.

And let us not forget “Fahrenheit 911,” which Harvey and Bob Weinstein co-produced. But when Disney wouldn’t let them release, it, the Michael Moore film went on to make over $200 million.

When the Weinsteins formed their own company in 2005, more Oscars came– two Best Pictures, “The King’s Speech” and “The Artist,” not to mention multiple nominations for “Philomena,” “Lion,” “Vicky Christina Barcelona,” and more Tarantino films. Meryl Streep became a regular Oscar nominee at Miramax/Weinstein, eventually winning for “The Iron Lady.” Nicole Kidman also became a favorite, winning for “The Hours” (a co-production). The Weinstein Company also won Oscars Best Documentary for “20 Feet from Stardom” and “Citizenfour.”

And now the whole thing is over. Without Harvey, there is no Weinstein Company. And the Weinstein Company is changing its name. “Wind River,” “The Current War,” and “The Upside”– all intended to be TWC candidates for Oscar noms this year, will suffer. Who knows what the future will bring. But the Oscars– airing March 3rd, 2018 — will be a much different show.