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justforbooks · 4 years

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Sir Stirling Moss, F1 great, dies aged 90

He was content to be known, he often said, as the man who never won the world championship: a way of distinguishing him from those of lesser gifts but better luck who had actually succeeded in winning motor racing’s principal honour. But it was the manner in which Stirling Moss, who has died aged 90, effectively handed the trophy to one of his greatest rivals that established his name as a byword for sporting chivalry, as well as for speed and courage.

It was after the Portuguese Grand Prix on the street circuit at Oporto, the eighth round of the 1958 series, that Moss voluntarily appeared before the stewards to plead the case of Mike Hawthorn, threatened with disqualification from second place for apparently pushing his stalled Ferrari against the direction of the track after spinning on his final lap. Moss, who had won the race in his Vanwall, testified that his compatriot had, in fact, pushed the car on the pavement, and had thus not been on the circuit itself. Hawthorn was reinstated, along with his six championship points. Three months later, when the season ended in Casablanca, he won the title by the margin of a single point from Moss, who was never heard to express regret over his gesture.

Such sportsmanship had become part of his appeal, along with the devil-may-care charisma formerly associated with Battle of Britain fighter pilots. His public image was enhanced by his willingness to invite feature writers and TV cameras into his town house in Shepherd Market, the district of Mayfair in central London where he lived, even when married, in a kind of bachelor-pad splendour amid a panoply of hi-tech gadgets.

The aura continued to surround him long after an accident on the track truncated his career at the age of 32, when he was still in his prime. The sight of Moss, in his later decades, entering the paddock at a race meeting, accompanied by his third wife, the effervescent and indispensable Susie, never failed to draw shoals of fans, photographers and journalists keen to hear his opinion on the latest controversy.

He loved to fight against the odds, and the greatest of his Formula One victories, at the wheel of an obsolete, underpowered Lotus-Climax, came in 1961 at Monaco and the Nürburgring, two circuits that placed the highest demands on skill and nerve. Those wins could be set alongside the epic victory in the 1955 Mille Miglia and the historic triumph in the 1957 British Grand Prix at Aintree, when he and Tony Brooks became the first British drivers to win a round of the world championship series in a British car, prefacing a long period of British domination.

Before his retirement as a professional driver in 1962 he had competed in 529 races, not counting rallies, hill climbs and record attempts. He won 212 of them, an extraordinary 40% success rate. Of the 66 world championship grands prix he entered between 1951 and 1961, he won 16, a ratio unfavourably distorted by early years spent in uncompetitive British cars and by a pronounced share of mechanical misfortune.

He was born to parents who had met at Brooklands, in Surrey, the great cathedral of pre war British motor racing. His father, Alfred, was a descendant of a family of Ashkenazi Jews known, until the end of the 19th century, as Moses. A successful dentist, Alfred Moss also possessed a passion for motor sport, and competed at Brooklands in the 1920s; while studying in the US, he entered the Indianapolis 500, finishing 16th. His wife, Aileen (nee Craufurd), was the great-great-niece of “Black Bob” Craufurd, a hero of the Peninsular war in the early 19th century; an equestrian, she also entered races and rallies in her own three-wheeled Morgan.

When their son was born they were living in Thames Ditton. Two years later, after the birth of a daughter, Pat, they moved to a large house in Bray, Berkshire, called Long White Cloud. Both children rode horses competitively from an early age (Pat was to become a champion horsewoman and rally driver). Stirling, educated at Clewer Manor prep school and Haileybury, Hertfordshire, neither enjoyed nor excelled at academic work. It was at Haileybury that he was subjected to antisemitic bullying for the first time.

He was nine when his father bought him an old Austin Seven, which he drove in the fields surrounding Long White Cloud. At 15 he obtained his first driving licence and, with £50 from his equestrian winnings plus the proceeds from the sale of the Austin, bought his own Morgan. It was followed by an MG (in which he was discovered by Aileen Moss while attempting, aged 17, to surrender his virginity to one of his father’s dental receptionists) and then, in the winter of 1947-48, by a prewar BMW 328. This was the car with which he entered his first competition, organised by the Harrow Car Club, winning his class.

Resistant to the lure of dentistry, he worked briefly as a trainee waiter at various London establishments. But motor racing was where his heart lay, and for his 18th birthday his father bought him a Cooper-JAP, powered by a 500cc motorcycle engine, with which to compete in the new Formula Three series. After a couple of good performances in hill climbs, he entered and won his first single-seater race on the Brough aerodrome circuit in east Yorkshire on 7 April 1948.

Ruled out of national service by bouts of illness, including nephritis, Moss was soon a regular winner against fierce competition and before long he was making occasional trips to races in Italy and France. In May 1950, when a race was held in support of the Monaco Grand Prix, he set the best practice time, won his heat and then won the final.

As his reputation grew, he was approached in 1951 by Enzo Ferrari, who offered him a car for a Formula Two race at Bari, as the prelude to a full contract for the following season. Moss and his father made the long journey down to Puglia, only to discover that the only Ferrari was reserved for another driver, the veteran Piero Taruffi. No explanation was offered and Moss’s fury at such treatment led to a lasting rift and a special sense of satisfaction whenever he managed to beat the Italian team, particularly in a British car.

A victory in the 1954 Sebring 12-hours, sharing the wheel of an OSCA sports car with the American driver Bill Lloyd, opened the season in which he made his international breakthrough. Deciding to take the plunge into Formula One, he and his manager, Ken Gregory, first offered his services to Mercedes-Benz, then on the brink of a return to grand prix racing. When the German team politely indicated that they thought he needed more experience, Gregory and his father negotiated the purchase of a Maserati 250F, the new model from Ferrari’s local rivals.

No racing driver can have invested £5,500 more wisely. Moss and the 250F bonded instantly, and he was soon winning the Aintree 200, his maiden Formula One victory. By the time he entered the car for the German Grand Prix, he was being supported by the official Maserati team, which had recognised his world-beating potential. At Monza that September he was leading the Italian Grand Prix and looking a certainty for his first win in a round of the world championship when an oil pipe broke with 10 laps to go.

Mercedes had taken note, however, and signed him up for 1955, as No 2 to the world champion, Juan Manuel Fangio. Although neither spoke the other’s language, a warm respect grew between them. At Aintree, having won three of the season’s first four races and assured himself of a third world title, Fangio took his turn to sit in the slipstream as Moss became the first Briton to win his home grand prix.

In 1955, too, Moss won the Mille Miglia, the gruelling time trial around 1,000 miles of Italian public roads, in a Mercedes 300SLR sports car. During two reconnaissance runs his co-driver, the journalist Denis Jenkinson, prepared a set of pace notes that were inscribed on a roll of paper, held on a spindle inside a small aluminium box. As they charged from Brescia to Rome and back, Jenkinson scrolled through the notes and shouted instructions to the driver. They completed the course in 10 hours and seven minutes, at an average speed of 97.95mph – a record that stands in perpetuity, since the race was abandoned after several spectators were killed two years later.

When Mercedes bowed out of Formula One at the end of 1955, Moss returned to Maserati while Fangio went to Ferrari. Moss won at Monaco and Monza, finishing runner-up to Fangio in the championship for the second time in a row. However he had always hoped to win grands prix in a British car, and for 1957 he was happy to accept an invitation to drive a Vanwall, a Formula One car built by the industrialist Tony Vandervell at his factory in Acton, west London.

At Aintree, after a patchy start to the season, he fell out of the lead with a misfiring engine. Taking over the car of his team-mate Brooks, who was still suffering from the effects of a crash at Le Mans, he resumed in ninth place and eventually took the lead with 20 laps to go after the clutch of Jean Behra’s Maserati disintegrated and a puncture delayed Hawthorn’s Ferrari. More conclusive were the subsequent victories at Pescara and Monza, when the British car and its driver beat the Italian teams on their home ground.

After Fangio’s retirement in 1958, Moss became his undisputed heir. When Vanwall did not attend the first race of the year, in Buenos Aires, he was allowed to drive a little two-litre Cooper-Climax entered by his friend Rob Walker and, through a clever bluff involving pit stops, managed to beat the Ferraris. Back in the Vanwall, he won the Dutch, Portuguese and Moroccan grands prix, but was again condemned to second place in the final standings, this time behind Hawthorn.

Vandervell was so distressed by the death of Stuart Lewis-Evans, the team’s third driver, in Morocco at the end of the season that he withdrew his cars during the winter, leaving Moss without a drive for 1959. The solution was to form an alliance with Walker, the heir to a whisky fortune, whose Cooper-Climax would be looked after by Moss’s faithful mechanic, Alf Francis, a wartime refugee from Poland. The dark blue car suffered from unreliability until late summer, when Moss took it to victories in Portugal and Italy.

Moss and Walker remained in partnership for 1960, but a fine victory in Monaco with a new Lotus-Climax was followed at Spa by a bad crash during a practice session, the car losing a wheel at around 140mph and hitting a bank with such force that the driver suffered two broken legs, three crushed vertebrae and a broken nose. To general astonishment he was back at the wheel inside two months, winning his comeback race in a Lotus sports car.

In 1961 his virtuosity overcame the limitations of Walker’s ageing Lotus and its four-cylinder engine. Twice he outran the V6 Ferraris of Wolfgang von Trips, Phil Hill and Richie Ginther, first in a mad chase at Monaco and then, on a wet track, at the 14-mile Nürburgring. He was at the height of his powers and the only problem was to find cars good enough to match his brilliance.

Before the start of the 1962 season Enzo Ferrari offered to supply his latest car, to be run in Walker’s colours. Old resentments were cast aside and Moss accepted this rare invitation. But an accident at Goodwood, at the wheel of a Lotus, meant that it was never put to the test.

No conclusive evidence has ever emerged to explain why, on that Easter Monday, his car went straight on at St Mary’s, a fast right hander, and hit an earth bank. It took 40 minutes to cut his unconscious body out of the crumpled wreckage.

The outward signs of physical damage – severe facial wounds, a crushed left cheekbone, a displaced eye socket, a broken arm, a double fracture of the leg at knee and ankle, and many bad cuts – were less significant than the deep bruising to the right side of his brain, which put him in a coma for a month and left him paralysed in the left side for six months, with his survival a matter of national concern.

After lengthy treatment, convalescence and corrective surgery, he started driving on the road again. And in May 1963, a year and a week after the accident, he returned to Goodwood, lapping in a Lotus sports car for half an hour on a damp track. When he returned to the pits, it was with bad news. The old reflexes, he believed, had been dulled, and without that sharpness he could only be an ex-racing driver. In the fullness of time, he came to regret the decision. Had he postponed it a further two or three years, he felt, his recovery would have been complete and, at 35, he might have had several seasons at the top ahead of him.

Instead he occupied himself with his property company. There was also the well remunerated business of being Stirling Moss, constantly in demand for commercial and ceremonial events. He participated in races for historic cars, taking advantage of a special dispensation that allowed him, and him alone of all the world’s racing drivers, to ignore modern safety regulations by competing in his old helmet and overalls and doing without seat-belts.

He celebrated his 81st birthday by racing at the Goodwood Revival; a few months earlier he had fallen 30ft down the lift shaft at his Mayfair home, breaking both his ankles. Towards the end of 2016, however, he fell ill during a trip to the far east. After several weeks in hospital in Singapore he was flown home to London and his withdrawal from public life was announced.

Always enthusiastic in his pursuit of what, refusing to abandon the vernacular of racing drivers of the 50s, he referred to as “crumpet”, he was married three times. The first marriage, in 1957, was to Katie Molson, the heir to a Canadian brewing fortune; they separated three years later. In 1964 he married Elaine Barberino, an American public relations executive, with whom he had a daughter, Allison, in 1967, and from whom he was divorced the following year. He married Susie Paine, the daughter of an old friend, in 1980; their son, Elliot, was born later that year.

Appointed OBE in the 1959 new year’s honours list, and named BBC sports personality of the year in 1961, he was knighted in 2000.

He is survived by Susie and his children.

• Stirling Craufurd Moss, racing driver, born 17 September 1929; died 12 April 2020

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weekendwarriorblog · 4 years

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The Weekend Warrior Movie Preview November 27, 2019 – KNIVES OUT, QUEEN AND SLIM, THE TWO POPES, 63 UP

You might notice that this column is no longer called “What to Watch This Weekend.” There are reasons for that I will not go into in much detail right at this time. I’ve always considered myself an original and when I recently learned the title had already been used long before “I came up with it,” I had to change gears and go back to a more familiar title. I have a feeling that few people read this column each week to even notice the difference.

Of course, Disney’s Frozen 2 will win the weekend, but the big new release has to be Rian Johnson’s KNIVES OUT (Lionsgate), which has such a to-die-for cast, including Daniel Craig, Chris Evans, Jamie Lee Curtis, Don Johnson, Michael Shannon, Toni Collette, LaKeith Stanfield and many more. You can read my review of that here, and obviously I’m very bullish on recommending this to people since it’s such a fun whodunit, much better than last year’s Murder on the Orient Express. I really hope this does well since it will allow Johnson to keep making cool and original movies like this.

The other movie opening this weekend is Lena Waithe’s QUEEN AND SLIM (Universal), directed by Melina Matsoukas (who directed that long-form Beyoncé music video), and starring Daniel Kaluuya and Jodie Turner-Smith.

I wasn’t going to review this, but I might as well use this space to talk about the problems I had with the movie. I feel I might be mainly on my own with this one, but it reminded me so much of Moonlight, a movie I was pretty non-plussed by, yet that not only went to the Oscars but won Best Picture that year. Huh.

I feel like Queen and Slim is another example of a movie that will be pushed for its SJW message even if the story has so many issues that I’m shocked so many people are overlooking them. The essential premise has Kaluuya and Turner-Smith as a couple who meet on a Tinder date, she a defense lawyer whose client has just been sentenced to death. After an awkward meet-cute at a diner, they drive off but are stopped by a police officer. One thing leads to another, the officer ends up dead, and the defense lawyer decides, “We should make a run for it,” and that’s exactly what they do.

That’s one of the big problems I had with the movie and it continued throughout, which is why I think this movie should have been called “Bad Decisions: The Movie,” because these are clearly two smart individuals, yet they are constantly doing really stupid things, which makes it really hard to root for them. On top of that, I wasn’t too impressed by Matsoukas/Waithe as a filmmaking team, as the movie had a lot of beautiful shots but really didn’t have much of a flow, making Matsoukas’ music video background far too obvious. It’s very typical of a new filmmaker wanting to create this beautiful-looking movie and losing sight of the actual narrative storytelling, which isn’t great. And then there’s the message Waithe is trying to drive home, clearly inspired by #BlackLivesMatter, but it just goes completely overboard at times, and no one in this movie acts like normal people might act in order to resolve their issues.

In other words, Queen and Slim is trying to be an arty film in what is a business where movies that cost a lot of money need to make that money back, and I see this as a pretty big risk on Universal’s part for a movie that just isn’t that great.

You can read about how the above movies might fare at the Thanksgiving box office over at The Beat.

LIMITED RELEASES

There are, thankfully, a fewer number of limited releases this weekend, the big one being Netflix’s THE TWO POPES, starring Jonathan Pryce and Anthony Hopkins, which is absolutely fantastic. Directed by Brazilian filmmaker Fernando Meirelles from a screenplay from Anthony McCarten (Darkest Hour). Basically, it’s about the relationship between Popes Francis (Pryce) and Benedict (Hopkins) as the latter is being criticized for allowing Catholic priests to get away with repeated sexual abuses against young parishioners. I saw this movie quite some time ago, and I really need to see it again before writing any sort of review, but it will probably be in my top 25 mainly for the amazing script and the performances by the two leads. This will open in select cities on Wednesday and be on Netflix December 20, and maybe I’ll have a chance to rewatch so I can write more about it at that point. Regardless, it’s another movie opening this weekend I recommend seeking out.

Opening at the Film Forum on Wednesday is Michael Apted’s excellent doc 63 Up (Britbox), the culmination of the 56 years he has spent following the lives of a number of British kids from different classes over the course of their lives. I’ve loved this series since I first discovered it, probably around the 21-Upyears, but it’s amazing how every seven years, you can revisit these people and learn more about them. There are a few of the subjects that you’ve begun to really care about, but at a time when class struggles play such an important part in the conversation and films like Parasite and Knives Out (see above) and M. Night Shyamalan’s new series Servant, it’s amazing to watch this venerable doc series in that context. I’m not sure if Apted will make it seven more years to make 70 Up, but if not, this is a fine conclusion to his masterful masters thesis. 63 Up will open at the Landmark Nuart in Los Angeles on Dec. 6 before hitting Britbox.

Getting a week-long run in New York and Los Angeles starting Friday is Ladj Ly’s intense police thriller LES MISERABLES (Amazon), which is France’s selection for the Oscar’s “International Film” category, and it’s an amazing film that follows a group of cops trying to cover up the shooting of a kid from the projects. Like many police dramas, it involves a rookie who is thrust into this world of crime, and I’ll definitely have more to say about this before its official theatrical release in January.

Also getting a qualifying run in New York and L.A. this week is Emily Taguchi and Jake Lefferman’s documentary After Parkland (ABC Documentaries/Kino Lorber), which I somehow have missed so far, but I’ll probably have a chance to see it in 2020 when it’s getting its official release. As one can gather from the title, it’s about a number of families from the Marjory Stoneman Dougle High School trying to get through the Parkland shootings that left 17 dead.

STREAMING AND CABLE

Before we get to this section, I want to give a quick shout-out to VitalThrills.com who have an absolutely amazing Streaming section that you should be using as a resource, since it’s quite complete, maybe the best one on the internet?

If you’ve been putting off seeing Martin Scorsese’s 3-1/2 hour THE IRISHMAN, because you feel that’s too long to be sitting in a movie theater, it’s now on Netflix so you can watch it over and over, stopping and starting whenever you want. Happy?

While I’ve mostly been using this section for Netflix stuff (because it’s the only streaming/cable company that sends me regular PR), I’m excited that M. Night Shyamalan’s SERVANT will be debuting on Apple TV+ on Wednesday (today!), and that will be another darkly funny thing to watch with the family after Knives Out. You can watch the first three episodes, but I wrote a review of the first half of the season, which you can read here.

French filmmaker’s animated I Lost My Body will hit Netflix this Friday with its amazing story of the romance between a pizza delivery guy and a librarian, based on Guillaume Laurant’s novel “Happy Hand.” Also, Mati Diop’s Cannes-winning film Atlantics, which I STILL HAVEN’T WATCHED!!! Will hit the streaming network on the same day, so I’ll stop having excuses for not having seen it. Also hitting Netflix Thursday is the holiday comedy HOLIDAY RUSH, starring Romany Malco, La La Anthony, Sonequa Martin-Green and the legendary Darlene Love.

Also, Disney+ will be adding The Wonderful World of Disney Presents the Little Mermaid Live! to its library on Wednesday as well as Pixar’s Cocoon Friday, along with the fourth chapter of its ongoing series including one you might have heard of called The Mandalorian.

REPERTORY

METROGRAPH (NYC):

The Metrograph once again wins the Repertory Wars this weekend. Its Noah Baumbach Residency continues this weekend with the filmmaker’s 2010 film Greenberg and 2017’s The Meyerowitz Stories, both starring Ben Stiller, as well as screenings of Working Girl (1988), Pauline at the Beach (1983) and Five Easy Pieces (1970). (I don’t think Baumbach will be at any of these.) The annual Holidays at Metrograph series begins this week with 1934’s The Thin Man, Jacques Demy’s The Umbrellas of Cherbourg (1964) and the 1940 film Remember the Night this Friday and Saturday. Filmmaker Whit Stilman will be back at the Metrograph, once again showing his 1990 film Metropolitan (another Metrograph holiday mainstay) on Sunday, and he’ll also introduce a screening of 1998′s The Last Days of Disco. Welcome To Metrograph: Redux will screen George Cukor’s 1950 film Born Yesterday, Clint Eastwood’s 1995 film The Bridges of Madison County (with screenwriter Richard LaGravanese introducing the screening Saturday night) and David Lean’s 1945 film Brief Encounter. Late Nites at Metrograph screens Terry Zwigoff’s 2001 film Ghost World, starring a VERY young Scarlett Johansson, while Playtime: Family Matinees will screen the appropriate Miracle on 34thStreet, the one from 1947.

ALAMO DRAFTHOUSE BROOKLYN (NYC)

Next week’s Terror Tuesday is Charles B Pierce’s The Legend of Boggy Creek (1972) in a new 4k restoration with a QnA with Pierce’s daughter moderated by Mohawk director Ted Geoghegan, then the Weird Wednesday is Liam Neeson in Sam Raimi’s Darkman (1990) in 35mm. (The latter is a fantastic film if you haven’t seen it yet.)

THE NEW BEVERLY (L.A.):

Today’s Weds. Afternoon Classics matinee is Samuel Fuller’s 1959 film The Crimson Kimono and Friday’s “Freaky Fridays” offering is David Cronenberg’s Existenz (1999). The weekend’s “Kiddee Matinee” is Jon Favreau’s Elf(2003), starring Will Ferrell, and Saturday’s midnight is a repeat of David Lynch’s Mulholland Dr. Otherwise, it’s mostly screenings of Once Upon a Time … in Hollywoodthis weekend.

FILM FORUM (NYC):

Opening this week is a 70thAnniversary 4k restoration of Robert Hamer’s Kind Hearts and Coronets, starring the great Sir Alec Guinness in 8 roles! Also this week, you can see a 4k restoration of the 1951 comedy The Man in the White Suit (on Weds and Sunday), as well as the 1955 film The Ladykillers, both directed by Alexander Mackendrick and also starring Guinness. Another repertory film getting a few screenings this weekend is the 1951 film The Lavender Hill Mob (another Guinness film!) and Carol Reed’s The Third Man from 1949 will get a full-week 70th anniversary presentation. This weekend’s Film Forum Jr. is To Kill a Mockinbird… ookay. On Sunday, you can see the 1975 Hal Ashby classic Shampoo in a single screening, and then on Monday night, there’s a single 35mm screening of Masaki Kobayashi’s 1964 film Kwaidan, based on four ghost stories by Lafcadio Hearn, introduced by Monique Truong, who has written a book about Hearn. Oh, it’s also over 3 hours long.

AERO (LA):

The AERO’s “Happy Thanksgiving 2019” movies include Planes, Trains and Automobiles on Wednesday, Singin’ in the Rain on Friday, and Saturday is a triple feature of “Satirical Cinema: Using Comedy to Underminte Hate” of Charlie Chaplin’s The Great Dictator (1940), Mel Brooks’ The Producers(1968) and Taika Waititi’s Jojo Rabbit… yeah, one of these movies doesn’t match up to the others, and also isn’t really repertory. Sunday is a Charlie Chaplin double feature of City Lights(1931) and The Circus (1928). Tuesday’s “Christmas Noir: A Hardboiled Holiday” matinee is Blast of Silence from 1961.

EGYPTIAN THEATRE (LA):

Friday is a “Black Friday Double Feature” of mall-related horror films with Chopping Mall (1986) and Phantom of the Mall: Eric’s Revenge (1989), and then Saturday is an all-day The Lord of the Rings trilogy starting at 1pm.

MOMA (NYC):

The newly renovated museum continues it’s “The Contenders 2019” series, but Modern Matinees: Iris Barry’s History of Filmwill continue through the week, as well. Vision Statement: Early Directorial Workswill return on Monday with Julie Dash’s 1991 film Daughters of the Dust, then Darren Aronofskiy’s Pi(1998) and Satyajit Ray’s Pather Panchali(1955) on Tuesday.

FILM AT LINCOLN CENTER (NYC):

If you want to find me this weekend, I’ll be spending a lot of time up on the Upper West Side (MTA-permitting) for the continuing “Relentless Invention: New Korean Cinema 1996-2003” for a bunch of movies, including Bong Joon Ho’s 2000 debut Barking Dogs Never Bite. You should also check out Varda by Agnès while you’re up there.

MUSEUM OF THE MOVING IMAGE (NYC):

“The Collected Terrence Malick” continues this weekend with screenings of some of Malick’s more recent films: Voyage of Time: Ultra Widescreen Version, The New World: Theatrical Version (Friday) andLimited Release Version (Sat.), as well as Voyage of Time: Life’s Journey on Saturday, and then the “Brad Pitt version” of Voyage of Time on Sunday. Also, Malick’s classic The Tree of Life will screen Friday and Sunday.

IFC CENTER (NYC)

Weekend Classics: May All Your Christmases be Noirwill screen The Night of the Hunter (1955), Waverly Midnights: Spy Games screens Hitchcock’s North by Northwest (1959) in a 4k restoration, while Late Night Favorites: Autumn 2019 will screen… I can’t even. It’s movies they’ve shown a dozen times or more… Matt Zoller Seitz’s “Movies with MZS” continues next Tuesday with a screening of Moonstruck with screenwriter John Patrick Shanley.

QUAD CINEMA (NYC):

Thursday/Thanksgiving is your last chance to see Buster Keaton’s Battling Butler (1926) and The Navigator (1924) from out of the Cohen Films vault.

ROXY CINEMA (NYC)

Continuing its Nicolas Cage series by screening 1989’s Vampire’s Kiss in 35mm on Weds, Friday and Saturday nights, plus another screening of Peggy Sue Got Married (1986) on Sunday.

LANDMARK THEATRES NUART (LA):

This week’s Friday midnight is the uncut version of Alejandro Jodorowsky’s 1990 film Santa Sangre.

BAM CINEMATEK (NYC):

On Sunday, you can take the family to a matinee of Muppet Christmas Carol.

That’s it for this week. I’ll be taking a week off from the Box Office Preview over at The Beat, but the Weekend Warrior (sigh) will be back here with all the limited releases kicking off December.

#TheWeekendWarrior KnivesOut QUeenAndSlim TheTwoPopes 63Up Movies Reviews

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