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Disney-Marvel’s Adrift “The Marvels” Panned by Reviewers: Have Cash Cow Super Hero Movies Finally Worn Out Their Welcome?

All good things must come to an end, even super hero movies.

So it may be for “The Marvels,” which debuts tomorrow night. The 33rd Disney-Marvel comic book film is being panned by reviewers.

Despite the great Brie Larson, “The Marvels” has a 54% rating on Rotten Tomatoes — and it’s sinking.

Reviewers are calling it a mess, boring, and irrelevant.

What’s clear is that “The Marvels” was always a movie in search of an idea. It’s been held and reworked a lot. Now it seems to make up for lack of a plot and a villain, Marvel threw in a lot of Marvel Universe connections to keep it alive.

I guess it didn’t work, not even the sight of Robert Downey Jr. in the trailers. Iron Man/Tony Stark has been dead a long time.

Marvel had been on a roll for a long time. But with the pandemic and strikes, they are finally seeing backlash. They’ve also got a major problem with the next three planned “Avengers” movies. Jonathan Majors is supposed to star as the villain Kang. But he’s on trial soon for domestic abuse. Whether or not he’s found innocent of all charges, Majors may be too tainted now for Disney to keep him. “The Avengers” movies are now in limbo.

Marvel may have to wait to be marvel-ous for a while.

“Sound of Freedom” Studio Pay it Forward Trick Isn’t Working this Time with “After Death” Release: No One Wants to Know

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All summer the entertainment press kept whinging on about a movie called “Sound of Freedom” making over $100 million.

Almost no one — except this column — reminded that Angel Studios was allowing Christian groups and anyone who wanted to “pay it forward” and buy tickets in bulk for people to use for free. It was a scam. “Sound of Freedom” would never have made that money otherwise.

Now Angel Studios has a new release called “After Death.” They’re still offering free tickets but guess what? No one’s going.

In 11 days of release, “After Death” — a documentary — has made just $9.5 million. Theaters are empty. Apparently no one wants to know what happens in a cinematic masterpiece (their words) that explores what happens after we die. We do know what happens when critics see it: a rotten 46%.

That’s because, you know, in the real world, no one knows what happens after we die except the obvious– we are gone. Everything else is supposition or fiction. Sorry. I know that’s tough to hear. But the only the way to find out is to die — and stay dead.

But on November 10th Angel Studios is going to offer a livestream with experts answering questions about near-death — which, frankly, does not qualify as actually being dead.

The “After Death” box office, however, is dead.

Election: Yusef Salaam, Exonerated in Central Park Jogger Case, Targeted for Death Penalty by Donald Trump, Wins NYC Council Seat

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This is called vindication.

Yusef Salaam, who at 15 was convicted with five others in 1989 in the Central Park Jogger case, won a seat on the NYC council.

In 1989, Salaam went to jail for seven years, along with the other defendants in the case. They were vilified and railroaded. Donald Trump called for them to get the death penalty in a full page ad in the New York Times and other ads that cost $85,000.

But the so called Central Park Five was exonerated and their convictions vacated in 2002 and they received a combined $41 million settlement from the city. They didn’t do it, just as they’d maintained. as the real culprit was caught through DNA analysis and a confession.

(Trump never apologized. His sick posture on this crime is just one of his many egregious and hateful mistakes in New York, where we know the depth of his evil. How anyone could think of voting for him now is inconceivable.)

Salaam’s election is a sweet vindication after one of the more shameful events in New York history. He will represent a big chunk of Harlem. He ran unopposed after winning a by a big majority in the primary.

SAG Actors Strike Reportedly Nearing Resolution as Studios Agree to Tailor Language on AI: Report

Our long national nightmare might be over soon.

Variety says the studios are agreeable to tailoring language in their “last, best, final offer” to the union.

The remaining issue seems to be about AI, and the digital scanning of actors– and then reusing the scans without permission or pay.

The studios will likely give in on this so the strike can be wrapped up. If not, there will be no movie or TV business in 2024. It’s time to move on.

Stay tuned…

Garland Jeffreys’ Extraordinarily Joyful Music Film “The King of In Between” Opens DocNYC Tonight– Stream It (Info Here)

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New Yorkers know Garland Jeffreys as a hometown hero.

A rock star since the mid 70s, Garland — who went to Syracuse University with Lou Reed, his buddy — became a legacy musician with his single, “Wild in the Streets” in 1977.

He went on to make a dozen or so albums and had an early 80s hit with “Matador” and a cover of “96 Tears.” His songs are about storytelling, art, and poetry set to his own brand of R&B.

“The King of In Between” is a spectacular documentary about his amazing career, and it’s one of the opening night films at DocNYC Nov 8th. It’s also available streaming via the website. The movie is named for one Garland’s later albums, a kind of mini masterpiece. The title is a reference to the singer’s successful struggle to straddle so many worlds of color and music.

There are lots of special guests in the film including Little Steven van Zandt (and possibly Bruce Springsteen, who loves Jeffreys). Lou Reed and Laurie Anderson are featured, as well as Harvey Keitel, another old friend. But it’s really all about Garland, an American and New York original whose infectious sense of humor is shown off as well his musical and theatrical chops.

Claire Jeffreys produced and directed. No one knows the subject better. She’s been married to him for decades. This film is so good it should be on American Masters. Hello WNET, PBS.

Celebrity Sexpot Megan Fox Has Written a Book of Poetry: What a Time to Be Alive!

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Celebrity sex pot Megan Fox has “written” a book. Of Poetry. It’s called

“Pretty Boys are Poisonous.”

Look, we need this right now. The world is at war. It’s a very tense moment. America is divided– some people want a man standing trial in four places to be elected again to the presidency. Sanity and intelligence are no longer a given.

So Megan Fox — in a very Trumpian way — wants to be poet laureate. I say, let her. At this point, civilization is over. RFK Jr is polling well in red states. Megan Fox may be our way out. Or Kennedy’s choice for Vice President.

Eugene Pask produces a show called “Celebrity Autobiography.” I can’t wait til it’s back, with Britney Spears, Jada Pinkett Smith, and now Megan Fox. As long as her cleavage is good, Megan Fox can rhyme away.

Here’s her into:

Broadway: David Byrne’s Remarkable “Here Lies Love” Will Close November 26th Despite Rave Reviews

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This is very sad news.

David Byrne’s amazing musical, “Here Lies Love,” is closing on Broadway November 26th.

The show– written with Fat Boy Slim– was a huge hit in 2014 at the Public Theater. When it finally opened on Broadway this summer, I was sure — just as the producers and everyone involved — that it would take off like a rocket.

But “Here Lies Love” had its box office peak three months ago at $950,000. Currently it averages around $650,000 a week despite hitting 84% capacity. It’s an expensive show, too. The Broadway Theater was entirely reconfigured for this production.

The producers say they can’t see a way forward, so better to stop now.

“Here Lies Love” must be nominated for Best Musical next spring, along with several of its performers and the score. Tony nominators must not forget it.

It’s heartbreaking that such a groundbreaking, imaginative, entertaining show couldn’t make it on Broadway. This has been a tough season. But “Here Lies Love” has no Stars– aside from Lea Salonga in a featured scene. It’s also about an odd subject — the rise and fall of the Marcoses in the Philippines. But what a joy it is to be there!

Barbra Streisand Talks for First Time About Affair with Joan Collins’ Composer Husband Anthony Newley

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Barbra Streisand’s book, “My Name is Barbra,” is full of stories about past romances. Some went well, some didn’t. One in particular that was a bust and snakes its way through the book is about Charlie Chaplin’s son, Sidney (you can read it in the book).

One short lived affair was with Joan Collins’ husband, Anthony Newley, while Streisand was married to Elliott Gould. The couples, she says, separated during this time but it’s pretty clear Barbra and Newley started up before those decisions were finalized. Indeed, Streisand had such a crush on the composer of “What Kind of Fool Am I?” that she made a play for him at a party.

Joan gave a party for Tony’s thirty-sixth birthday at their house on Summit Drive. And I did something I never do. People were standing up and giving little speeches. So I got up and sang the first line of “People,” but I changed the words to “Newley . . . people who need Newley . . . are the luckiest people in the world.” All I sang was that one phrase, but the fact that I even had the desire to do it should have been a dead giveaway, at least to me . . .

That got the ball rolling. Newley was on top of the world, having co-written the lyrics to “Goldfinger.” Later he and Lesley Briscusse wrote the songs from “Willy Wonka” including “Pure Imagination.” He was a versatile British entertainer who was on TV, in films, and on Broadway all the time.

Barbra writes:

I had heard Tony liked younger women. He called himself a bad boy, and I suppose he was, in a way. And I’ve always had a weakness for bad boys …Tony had left school at fourteen and become an actor and a musician. So he and I had similar temperaments, with the added enticement that he was just different enough for me to be attracted to him. With all his charisma and sexuality, Tony was a force that women gravitated to. That’s the thing about men who are promiscuous . . . they’re even more tempting because they present a challenge. You think, Can I be the one to change him into a one-woman guy? Would he love me enough to do that? So Tony and I “opened Pandora’s box, and released a torrent that will rend our worlds or bind us together forever,” as he wrote in a book of poems he gave me. It was a wonderful affair.

He would often sign his letters with “Love, Simon.” I didn’t know it then, but I later found out that was the name of his first child, with his second wife (Joan was his third, and she and I are still friends). The boy was born with severe defects and only lived six weeks. Now I understand why he chose to call himself by his son’s name. He was still living with that pain. Tony clearly had his demons, as most creative people do. And he did hurt me. He did something that really upset me, and it changed the way I felt about him. I was angry and refused to talk to him. So that was the end of our relationship. I loved that he loved the child in me, but he didn’t take care of the woman in me.

Barbra Streisand Remembers How She Recorded “The Way We Were”: “The ending needed work”

In Barbra Streisand’s memoir, “My Name is Barbra,” the famed singer recalls the making of her arguably biggest hit record, “The Way We Were”:

…”the song that you know today is not quite the song I heard when Marvin [Hamlisch] first played it for me. That’s always an important moment for both the composer and the singer . . . and a bit nerve-racking. You want to like it. You want it to be good. All I knew at that point was that it was going to be called “The Way We Were.” Marvin sat down at the piano in my living room and began to play a gentle, repeating chord, and then the melody came in. My ears perked up. I loved it. That first line of the melody was sensational. But then it went downhill, literally. The notes under the second line (“misty watercolor memories”) were going down the scale, which felt too somber to me. And then I heard the bridge, which was beautiful, but the ending needed work.

Streisand recalls how she and composer Marvin Hamlisch set about to work on the song, even changing a few words from lyricists Allan and Marilyn Bergman. (Some of this, she says, is in the DVD commentary about the movie.)

She adds:

“there was one last bit of improvisation . . . I found myself humming over the introductory bars. I do that often when I’m recording, to clear my voice and warm up. It usually gets cut from the track. But Sydney loved the hum and thought it was perfect for the title sequence, because he felt it eased the audience into the song . . . and the flashback . . . in a gentler, more organic way.”

Call Her Barbra: Streisand’s 992 Memoir Reveals Jon Peters’ “Temper Scared Me,” Don Johnson Was Insecure About Singing with Her

Barbra Streisand’s 992 memoir, “Call Me Barbra,” has just hit Kindle. We had to wait for it since her publisher was so uncooperative. Anyway, Barbra’s six decade career is one for the books. She has one child, a son, from her marriage to actor Elliot Gould. She’s been married to James Brolin for 25 years. She’s had hit records in each of the six decades. She’s also directed a bunch of movies, as well as starred in them. She’s done it her way, that’s for sure!

Here are some reveals from the book:

She had a real “A Star is Born” moment with boyfriend actor Don Johnson when they recorded a song together. She writes:

The session in the studio seemed to go well. We were improvising at the end . . . having fun in the moment, and laughing. I had asked Phil Ramone to produce it, and we both liked the way it turned out. Then somehow it all went wrong. Not the duet itself. It was Don’s attitude afterward . . . singing with me apparently made him feel very insecure. And instead of talking about it honestly, he just became very cold, and mistrustful, and angry. I tried to be sympathetic. I certainly had no intention of ruining his career, but it turned out he was concerned about exactly that. It seemed like an overreaction to me, but clearly he was upset, and therefore so was I.

On boyfriend Jon Peters, who went from hairdresser to movie producer:

he’d been telling people for years that he cut my hair. He took credit, in other words, for a cut that was done by Fred Glaser in Chicago. But that’s Jon . . . he had a lot of chutzpah. And clearly he also had a rather tenuous relationship with the truth . . . but I didn’t pay enough attention to that at the time.

Eventually they fell into a relationship:

Jon could also be thoughtless, and sometimes quite mean. We would be driving in the car and I’d say, “Could you please close the window? I’m getting cold.” He’d say, “Get a blanket.” What kind of love is that? (My husband Jim would never say that. Instead he’d quickly close the window and turn on the heat.) I was shocked sometimes by what came out of Jon’s mouth. He said we had hundreds of acres when it was only twenty-four, which was plenty. And he told one reporter that he planted fifty thousand trees and moved forty million tons of rock, but that’s typical of him . . . he always exaggerates. The truth was never enough for him. And he could be so volatile. His temper scared me.

Barbra reveals the fake name she travels under:

Angelina Scarangella. I picked it out of the phone book. I thought it sounded so beautiful, and I used it for years, whenever I wanted to be incognito. At Mount Sinai Hospital, where I gave birth to my son, Jason, I was listed as Angelina Scarangella. And to this day, whenever I do a concert tour, the name on my dressing-room door is Angelina Scarangella. (Now that I’ve told you, I guess I’ll have to come up with something else.)

On winning the Oscar for Best Actress for “Funny Girl” — tying with Katharine Hepburn — but losing Best Picture to “Oliver!”:

I was really disappointed that Funny Girl didn’t win more awards. But the worst was yet to come. When I put on that black net pantsuit back inmy dressing room on the lot, it had looked chic and fun, and everyone had approved. None of us realized that it would turn transparent under the lights. When I saw the footage on TV, I was horrified. It looked as if I had nothing on underneath. (It was actually lined in nude georgette.) I was so embarrassed. And I’m still horrified, thinking about it now. The outfit was more talked about than the fact that I had won the Academy Award. When I called my mother the next day to ask what she thought of my Oscar, all she could say was, “What kind of dress was that to wear in public?” For once, she was right! Katharine Hepburn was kinder. I still have the telegram I received from her:

Dear Barbra, I think that you are really first rate and full of whatever it is and I am proud to share that perch with you for the next year. Incidentally I just hope that osmosis transfers a little of what you have to me.

I returned the gesture by sending her flowers, along with a note: Dear Kate (I feel I should still call you Miss Hepburn), How very nice of you to send me such a lovely wire. I, too, am most honored to share this with you. But there’s one question I have to ask— It’s tough enough being in the same business with you—but do you have to start singing as well!!!! [Hepburn was about to star in the musical Coco on Broadway.] With much admiration, Barbra

More to come…