"She really found me at a point when I needed to be found." -- Jim Sturgess on Julie Taymor:

In 21, which hits theaters tomorrow, Jim Sturgess plays Ben Campbell, an M.I.T. student who's recruited into a group of Vegas card counters by a fellow student. In fact, the entire group is made up of students and its leader, Micky Rosa (Kevin Spacey), also happens to be a professor at the University. The fact-based film was inspired by the book Bringing Down the House by Ben Mezrich, and most of what you will see in 21 really happened -- with certain faces, places, names and events changed to fit a more Hollywood-ized mold. Directed by Robert Luketic, 21 also stars Kate Bosworth, Laurence Fishburne, Aaron Yoo and Liza Lapira.

Sturgess is a relatively new face to Hollywood. His first major film role only came last year, when director Julie Taymor cast the soft-spoken Brit opposite Evan Rachel Wood in Across the Universe. From there, this musician-turned-actor appeared in the recent The Other Boleyn Girl before taking on his first lead role in a major Hollywood film, 21. Upon meeting him, one can immediately tell this boy has the looks and charm to carry him real far. He's already scheduled to appear in the star-studded Crossing Over and the flick Fifty Dead Men Walking. Cinematical sat down with Sturgess in New York recently to talk about 21, as well as his blossoming career.

Just got back from the Sony offices here in New York, where Cinematical managed to sit down with Jim Sturgess (star of 21), as well as Ben Mezrich (author of Bringing Down the House, the book 21 is based on) and Jeff Ma (who Sturgess' character is based on). I have to say we all had a pretty damn cool conversation, which we'll post on the site at some point before the weekend, but in the meantime check out what Sturgess had to say about Spidey.

Now, remember back when we told you how Across the Universe director Julie Taymor was directing a Spider-Man: The Musical, with music and lyrics from U2's Bono and the Edge? Well, at the time, Taymor said she was interested in Sturgess playing Spider-Man, with Evan Rachel Wood playing Mary Jane. Not only is that true, but apparently Sturgess and Wood have already performed the roles. He says, "We actually have done a workshop for it, which is how this all kind of started. [Taymor] asked me and Evan to come down and do this workshop that she was doing, so it was a chance to work with Julie again and Evan again and, yeah, at that point I didn't know much more about it. We just did two weeks, and we kind of hung out with Bono and the Edge and sung songs about Spider-Man. As a young actor and musician, it was an incredible experience to be involved in that."

He continued, "We then sort of did a rough performance of the play -- like a read through where we sang through the songs and stuff. As ridiculous as it sounds, it's going to be an incredible piece of work." Cinematical asked Sturgess whether that meant he would be starring in the musical, to which he replied: "Um, I don't know. I haven't spoken to Julie since, and I don't know when she plans to do it. It's a timing thing, I guess. I don't know how long it's going to be before it comes to the surface."

More Spidey after the jump ...

2008 is not this generation's 1968. Let's get that matter straight, right away. Even if we can draw some parallels or see some similarities between now and then, the truth is that it was a very tragic year, and despite our penchant to fetishize the period and wish that our time could be so important and powerful, we need to pray no politicians are assassinated this year (the fact that one particular candidate has been compared to both MLK and RFK is especially upsetting) and we need to be thankful that there is no draft. But mostly we need to just move on from the '60s already and stop attempting to appropriate its events in order to heighten the relevance of the 2000s. 2008 is indeed a significant year on its own, or it could be if we let it exist as such.

That said, Chicago 10, the latest documentary from Oscar-nominee Brett Morgen (On the Ropes) is literally about events of forty years ago, though the filmmaker claims it is a film about now. Okay, sure, there may be some relevant themes, but imprisoning your film with such definite statements of purpose makes it possibly less enjoyable to the people who are tired of these weak and easy-minded juxtapositions. Without acknowledging the obviously apparent intent, Chicago 10 is actually appreciable as one of the most creative and entertaining documentary films in years. And it could indeed be viewed as significant on its own, if we let it exist as such.

There are not just Razzies and Oscars to read about this week. Yesterday, GLAAD -aka- Gay & Lesbian Alliance Against Defamation, announced their nominees and honorees for the 19th Annual GLAAD Media Awards. (Which they did from the depths of Sundance at the Queer Lounge in Park City.) The awards honor everything from print journalism to cinema, and celebrate "fair, accurate, and inclusive representation of people and events in the media as a means of eliminating homophobia and discrimination based on gender identity and sexual orientation."

As Stephen Fry would probably respond: there's still a long way to go, but here are the cinematic achievements and progress that GLAAD recognizes this year. There's singing, breasts, and even gay pirates:

Film -- Wide Release
Across the Universe
The Jane Austen Book Club
Stardust

Film -- Limited Release
The Bubble
Dirty Laundry
Itty Bitty Titty Committee
Nina's Heavenly Delights
Whole New Thing

Documentary
Camp Out
Cruel and Unusual: Transgender Women in Prison
For the Bible Tells Me So
Freddie Mercury: Magic Remixed
Small Town Gay Bar

[via indieWIRE]

Best Picture (Musical or Comedy)

Nominees:

Across the Universe

Charlie Wilson's War

Hairspray

Juno

Sweeney Todd

Predicted Winner: Juno

From its surprisingly well-received sneak preview at Telluride to its box-office blowout, Ellen Page's spot-on performance as Juno, the smart, cynical teenager who gets pregnant after having sex with her best friend, struck a chord across demographics. Juno might get shut out of a Best Picture Oscar (don't count it out completely, yet, though -- it's still sitting pretty high on the roundup of critics' polls over on Movie City News); the Globes are still the film's best chance to pick up some awards' season gold.

Now it's your turn to vote ...

It's only been three months since I began this column on theater exhibition and movie going, but already I've covered all kinds of experiences, both good and bad. And now I'd like to recap the year, concentrating on that quarter year in which The Exhibitionist existed, in order to present you with the best and the worst theatrical experiences I had in 2007. However, while this may seem like a cheap way to link back to previous writings and make an easy article out of that, I assure you that it's only a coincidence that some of my favorite and least favorite moments in exhibition happened since October. Anyway, there are plenty of moments I cite that were never mentioned in The Exhibitionist, so regular or new reader, read on:


Theatrical Experiences of 2007 Part I: The Worst


Pan's Labyrinth at Cobble Hill Cinemas, Brooklyn, NY, 01/16/07

I came away from watching Guillermo del Toro's "masterpiece" underwhelmed, thanks primarily to my inability to appreciate the Oscar-winning cinematography of Guillermo Navarro. How so? Well, the projection of the film where and when I saw it was terribly underlit. At least, I'm guessing it was. I've only seen the film partially since then, on DVD, and at that time it looked much brighter than I remembered.

At the time I saw the film theatrically, though, I just assumed the film was really that dark. Well, actually I thought it could be faulty projection, but I didn't want to get into the issue with the management. Most theaters are quite defensive when it comes to the subject of whether or not they dim the projector bulbs, and whether or not it matters. Even before I became a projectionist I knew thanks to Roger Ebert's Answer Man columns about the stupidity and annoyance of turning down the power on projector bulbs, but unfortunately not everyone else seems to know.

While my favorite part of For Your Consideration is Marilyn Hack's plastic surgery, I also love that dreaded morning when the Oscar nominations get announced. Some actors wait anxiously to hear their name announced, while others, thinking they're totally off the Academy's radar, get nods while they're snoozing. Then, to add insult to injury, the losers get tracked down for embarrassing meltdowns and awkwardness on television. It's not quite that bad in real life, but as I read the reactions of those who received Golden Globe nominations, that movie keeps popping up in my head. So, check out these reactions, courtesy of Variety:

Dudes Chewing on Their Nails Hoping to Get Nominations: Jeremy Piven & Focus Features
"I got a call around 5:30, but I was up, believe it or not." -- Piven

"I was sitting here at Focus with about 35 very happy colleagues." -- FF head James Schamus on leading the studio nominations.

Those Who Prepared Speeches: Joe Wright, Atonement & Brad Bird, Ratatouille

"I think we were, as a team, very passionate about the film and story. I don't think we looked up from the little world we created around ourselves." "You need to make all actors feel loved, respected, and supported. That applies to the 12-year-old Saoirse Ronan or a slightly-older Vanessa Redgrave. Acting is an exposing and vulnerable job. You need to make them feel safe." -- Wright -- Extra props given for use of "slightly older."

"One of the messages of the film that most critics understood was that it wasn't anti-critic, but was saying if you're a critic or artist, don't get far away from what you love, and if, as a director, if you're focused on box office or awards and not the film itself, you'll take your eye off the ball." "And most importantly, this nomination shouldn't be taken as an endorsement for rats cooking our meals for us." -- Bird

Lads and Ladies with a Little Bit of Cockiness: Craig Zadan, Hairspray & Julie Taymor, Across the Universe

"It's so interesting that a couple of years ago we were accused of bringing the musical back with Chicago, and now you have this year with Sweeney Todd, Hairspray, and Across the Universe. There was no musical for so many years, and we're so proud of what Chicago has done for the musical." -- Zadan

"It's tremendous as we weren't on the pundits lists and didn't have big ads. I feel, in a way, that we were the engine that could. People vote from their heart, and I feel very gratified." -- Taymor

More About that Damned Strike: Piven, again! & Russ Smith, Juno

"I don't know about whether or not I'll be attending because to be honest with you, I don't know a lot about the rules and limitations of what is happening. I need to look into it. Writers are kind of these unsung heroes... I hope they get what they deserve, and I'll do anything I can to help that." -- Piven

"Our hope is that there's gonna be some sort of dispensation. Every day we're hoping they work something out, but we'll have to see." -- Smith -- In other words: please end the strike, I want my big moment!!

With its concentration on the music industry, it's easy to forget that the Grammys have a few movie-related categories. They include best compilation soundtrack album, best score soundtrack album and best song written for motion picture, television or other visual media. One thing that's always odd with the Grammys, though, is how many nominees are so old. Take a look at the score/composer nominees, for example: Babel (Gustavo Santaolalla); Blood Diamond (James Newton Howard); The Departed (Howard Shore); Happy Feet (John Powell); Pan's Labyrinth (Javier Navarrete); Ratatouille (Michael Giacchino). Only the last of those films came out in 2007. But the eligibility period for the Grammys is always October of the previous year until the end of September of the current year. All but Ratatouille's soundtrack were released in October, November and December of 2006. Since the Grammy ceremony is only a couple weeks prior to the Oscars, the ancient films honored are easily seen as that much more old news (Babel won the 2007 Academy Award for score).

Happy Feet was also recognized in the best song category, for "The Song of My Heart" by Prince (who already has the best soundtrack of all time), despite its not having received an Oscar nomination. Same goes for one of its competitors, Casino Royale theme song "You Know My Name", co-written (with David Arnold) and performed by Chris Cornell. Dreamgirls' "Love You I Do", written by Siedah Garrett and Henry Krieger (performed by Jennifer Hudson) is the only overlap from last February's Oscar nominees (it lost to Melissa Etheridge's "I Need to Wake Up" from An Inconvenient Truth). The other recognized tracks, both from 2007 releases, are Eddie Vedder's "Guaranteed" from Into the Wild and Glen Hansard and Markéta Irglová's duet "Falling Slowly" from Once.

Once is also a contender for best compilation soundtrack, though it faces a huge challenger in The Beatles, who are recognized for the album for the Cirque du Soleil show Love (how does that fall into this category and not the one for musical show album?) and indirectly for the soundtrack to the movie Across the Universe, which features covers of the band's tunes performed by the movie's cast. Other soundtrack nominees are retro musicals Dreamgirls and Hairspray. Sorry, fans of High School Musical 2.

Once again, Film Threat has released its annual list of the Coldest People in Hollywood -- the ones whose careers are in the most trouble according to them. Strangely, the actress I would have thought was the natural contender for #1, Nicole Kidman, only makes #6. Of course, if The Golden Compass is a huge hit, it'll reverse a string of box-office misfortunes. Film Threat's advise is for Kidman to seek a job on George Miller's projected Mad Max 4. Hilary Swank, star of a robust contender for worst of '07, is advised to choose her work with more care ("She may have grown up eating sawdust in Gooberville, Washington, or wherever, but it's no longer necessary to accept every script that comes her way"). And there's no arguments here with choices Eli Roth (#8), scandal plagued actress Vanessa Hudgens (above), and Jennifer Lopez ("there doesn't seem to be any measure that can stop her from making more bad movies."). Certainly, Natalie Portman (#41) deserves a remembrance for her dual role in Goya's Ghosts, not even mentioned in the citation.

Naturally, this list offers more bones to pick than a washtub-sized bucket of KFC. Jessicas Alba and Biel share #12 (hey, Jessica Biel can act, you ruffians!); Eddie Murphy (#16) who is still quite A-list, is derided for Norbit, a popular hit that had a few defenders. Quentin Tarantino (#22) is hardly out of the game, despite the mixed feelings people had about Death Proof, and Ray Liotta (#29) has a wicked cameo in a Top Five movie right now. Lindsay Lohan charts at #51 on a list of 50. Guys, where was Eddie Izzard on this list: Across the Universe and Romance and Cigarettes within months of each other! Film Threat's number 1 pick isn't even an actor, though I doubt if anyone feels like returning his phone calls right now. In the meantime, bad-film fans can wait breathlessly for the Golden Raspberry awards coming up later this year.

Variety reports that Timothy Olyphant has signed for the comedy heist film, High Life. Based on the play by Lee MacDougall, the story centers on four hapless criminals in a heist gone wrong. The play premiered in Toronto in 1996 and went on to win a DORA award. Olyphant will star as their leader who is ultimately brought down by his incompetent partners. In the original play, the four friends were hopeless morphine addicts, but I'm going to take a guess and say that the new script might gloss over that particular element -- but it will all depend on just how dark this comedy wants to get.

Gary Yates has already been signed to direct, and also co-wrote the script with MacDougall. Yates is French-Canadian by birth and most of his credits are in Canadian television -- although he has already written and directed his one heist film titled Seven Ways Lucky, so the experience might come in handy. MacDougall is an actor as well as a playwright, but considering his biggest credit to date is in Cheaper by the Dozen 2, he might be better off sticking to writing.

Joining Olyphant in his band of fun-loving criminals are Joe Anderson (Across the Universe), Stephen Eric McIntyre (The Lookout) and Rossif Sutherland (Poor Boy's Game). With Hitman due for release in the coming weeks, in between re-shoots for the video game adaptation (you can also read Cinematical's interview with Olyphant about some of those Hitman rumors here), Olyphant has already finished work on the Iraq war drama Stop-Loss with Ryan Philippe. Then it's off to do some video game voice-over work for Turok. Plus, High Life has already begun production, so it doesn't look like Olyphant is going to have any down time in the near future.

Specialty distributors scrambled to find enough screens to accommodate their titles as a flock of adult dramas expanded into the hinterlands. When the dust settled, Wristcutters: A Love Story emerged victorious among new releases, averaging $12,800 per screen at three locations, according to estimates compiled by Box Office Mojo. When it played at Sundance in 2006, Karina Longworth called it "a bold first effort, with a distinct, swaggering sense of style and humor that's hard – even for a cynical blogger sick to death of indie 'quirk' – to resist."

The much-more heralded Reservation Road, directed by Terry George, starring Joaquin Phoenix, Mark Ruffalo, Jennifer Connelly and Mira Sorvino, came a cropper, averaging just $2,830 per screen at 13 locations. Considering the high-profile talent, that's got to be considered a major disappointment for distributor Focus Features. Nick Schager felt the film "seems determined, whenever possible, to resort to preposterous plot twists at the expense of actually plumbing its grief-stricken characters' anguished psyches."

Earning just a little bit more per screen, but without star wattage and very many advertising dollars behind it, the performance of O Jerusalem, about the birth of the modern state of Israel, can be considered satisfying to distributor IDP. Unfortunately, the reviews so far -- at least as indexed by Metacritic -- are far from enthusiastic, which doesn't bode well for future word of mouth.

Ian Curtis biopic Control added one theater and increased its take to $18,250 per screen, the highest average for the week, while the reissue of Blade Runner: The Final Cut fell 60% yet still made $13,00 at each of its two screens. Lars and the Real Girl added 14 theaters and continued its good performance, taking in $8,809 per screen. The remake of Sleuth added 12 theaters but declined to an average of $1,880.

Among the September holdovers that expanded, The Darjeeling Limited ($6,534 each on 202 screens), Lust, Caution ($4,688 each on 125 screens), Into the Wild ($3,267 each on 658 screens) and Across the Universe ($2,812 each on 960 screens) performed well.

The Game Plan has knocked me for a loop two weeks in a row. I honestly didn't expect it to hit number one when it opened and now it's held the top spot for two weeks running. Not bad for a film that looks like it could have premiered on The Disney Channel. My top pick from last week, The Heartbreak Kid, took second missing the lead position by $2.6 million. This being the Halloween season, the horror buff in me is glad to see that Resident Evil: Extinction, in its third week, is clinging tenaciously to the top five. Here are the final numbers:

The Game Plan: $16.6 million
The Heartbreak Kid: $14 million
The Kingdom: $9.7 million
Resident Evil: Extinction: $4.5 million
The Seeker: The Dark is Rising: $3.7 million

It's going to be a busy weekend with four new releases and two films that are already out expanding into additional theaters.

Elizabeth: The Golden Age
What's It All About: Cate Blanchett returns to the role that garnered her an Oscar nomination for 1998's Elizabeth, playing England's Queen Elizabeth I. Clive Owen and Geoffrey Rush also star.
Why It Might Do Well: The previous film broke even domestically on its $30 million budget but only played 600 or so theaters at a time. This wider release should serve the investors well. It also garnered an Oscar for Best Makeup as well as six nominations.
Why It Might Not Do Well: Period drama can be a tough sell.
Number of Theaters: 1,900
Prediction: $6.5 million

The Final Season
What's It All About: Former hobbit and offspring of Gomez Addams, Sean Astin stars as the coach of a high school baseball team in Iowa in this film based on true events. .
Why It Might Do Well: Even a heartless oaf like myself can be moved by an inspirational tale of underdogs making good.
Why It Might Not Do Well: Sports movies, especially high school sports movies, have their share of cliches, most of which are on display in the trailer.
Number of Theaters: 1,000
Prediction: $2.5 million

Tyler Perry's Why Did I Get Married
What's It All About: Based on Tyler Perry's stage play, the movie follows a group of eight married college friends on an annual ski holiday, and an act of infidelity causes them all to examine their own relationships.
Why It Might Do Well: Should attract those curious to see what became of Janet Jackson after Different Strokes.
Why It Might Not Do Well: Oh, don't be so negative.
Number of Theaters: 1,900
Prediction: $12 million

We Own the Night
What's It All About: Joaquin Phoenix and Mark Wahlberg play brothers who find themselves on opposite sides in a battle between the Russian mafia and New York City police in the 1980s. Robert Duvall also stars.
Why It Might Do Well: A top notch cast and audiences looking for another The Departed should sell some tickets.
Why It Might Not Do Well: I don't see a good reason for this one tanking. In fact, I think it will hit number one for the week.
Number of Theaters: 2,000
Prediction: $15 million

FILMS ALREADY OUT BUT GOING INTO WIDER RELEASE THIS WEEKEND:

Across the Universe
What's It All About: A psychedelic musical set to Beatles music, telling of love in the turbulent 1960s.
Why It Might Do Well: It's The Beatles, dude. While huge box office is not in the stars, this will eventually find its audience on DVD.
Why It Might Not Do Well: The small number of theaters carrying this one will keep it out of the top 5.
Number of Theaters: 700
Prediction: $3 million

Michael Clayton
What's It All About: George Clooney is a former criminal prosecutor now working as a "fixer" at a New York law firm, which requires him to do some of the company's dirtiest business.
Why It Might Do Well: Clooney's got the screen presence and a knack for usually picking worthwhile scripts.
Why It Might Not Do Well: There are a lot of people out there with long memories who paid to see Batman and Robin.
Number of Theaters: 2,400
Prediction: $13 million

Once again I'm seeking alternate forms of divination (what have I got to lose?), so here's what the Magic 8 Ball and I came up with for the coming weekend:
1. We Own the Night
2. Michael Clayton
3. Tyler Perry's Why Did I get Married
4. The Game Plan
5. Elizabeth: The Golden Age

I wasn't the only one taken by surprise when The Game Plan held the number one spot for two weeks. None of our other competitors saw it coming either, which makes me feel marginally better (marginally, mind you) about my third place standing. Here's how everyone did:

1. Bubba8193: 7
1. Movie Matt: 7
1. Ray: 7
2. Carlos the Jackal: 6
2. Abird: 6
3. Matt: 5
3. Anna07: 5
3. Neil: 5
3. Chris: 5
3. Gregory Rubinstein: 5
3. Josh: 5
4. Nathan: 4
4. uforeader: 4

As always, thanks to everyone who took part in our little competition, and we're always looking for more folks to join in on the fun. Please post your prediction in the comments section below before 5:00PM on Saturday. One point for every top five movie correctly named, two points for every correct placement, and one extra point for the top movie. I promise to wave to the winner of next week's competition, and the fact that I will do so from the confines of my own home with the curtains drawn should in no way seem odd. Just provide me with your latitude and longitude so I know which way to face.

Wes Anderson's The Darjeeling Limited and Ang Lee's Lust, Caution continued to duel one another for the top spot on the indie box office charts. Both expanded from their extremely limited Manhattan engagements last weekend, with The Darjeeling Limited earning $28,950 on average at 19 locations and Lust, Caution pulling in $21,530 at each of 17 locales, according to estimates by Leonard Klady of Movie City News.

The top earners in limited release were Michael Clayton, the heavily-advertised legal thriller starring George Clooney, which averaged $46,130 at 15 locations, and Blade Runner: The Final Cut, which earned $45,600 at just two locations. In his review of Michael Clayton, our own James Rocchi wrote: "I was hoping for a film along the lines of classic '70s Sidney Lumet or Alan J. Pakula; what I got was something more along the lines of an above-average '90s John Grisham adaptation." After a brief theatrical run, Blade Runner: The Final Cut will hit DVD in various incarnations on December 18.

Among new releases, Justin Lin's Finishing the Game scored the highest, bringing in $14,700 at one theater in Manhattan, while widely-discussed documentaries My Kid Could Paint That (average $3,390 on eight screens), Kurt Cobain: About a Son (average $4,700 on two screens) and Lake of Fire ($2,330 at one theater) struggled to find audiences. Jake Paltrow's The Good Night scored $6,250 each at two locations.

Several specialty releases increased their theater counts and at least three held up well. Sean Penn's Into the Wild expanded onto 135 screens and earned $9,410 on average, artful Western The Assassination of Jesse James by the Coward Robert Ford rolled onto 61 screens and made $6,610 per screen, and Julie Taymor's musical Across the Universe played well at 364 theaters, averaging $5,030 per screen.

For people in South Brooklyn, there are two great incentives to going to the movies on Tuesdays. Unfortunately, each is offered by a different theater. At the independently owned Cobble Hill Cinema, the attraction is discounted tickets -- $6.50 instead of the usual $9. Down the street, at the huge Regal Entertainment-owned UA Court Street Stadium 12, the deal is a free small popcorn -- upgraded to a medium for only 50 cents.

So, being a South Brooklynite, I typically schedule my movie going for Tuesdays. But how do I choose which theater to patronize? Well, obviously, the first factor is what movies each theater is showing. Normally, Cobble Hill has indie films and other similar, adult-oriented fare (I don't mean porn; I mean Elizabeth: The Golden Age) while the UA has mostly mainstream, studio pictures (e.g. The Heartbreak Kid). However, on occasion, they are both showing the one movie I want to see. This week, for instance, both theaters are running The Kingdom.

Because I'm both cheap and poor, the best draw seems to be Cobble Hill's discount ticket. But then if I'm going to buy popcorn (I almost always want popcorn), it isn't really any cheaper than going to the UA and paying $11.25 for a ticket and a medium bag. And as much as I'd like to say that you should always support the mom-and-pop business, the truth is that I prefer the projection, the seats and, most importantly, the corn at the UA. Besides, Cobble Hill offers its discount on Thursdays, too; so anytime I choose to see a movie on that day of the week, the smaller business is definitely first choice.

The third film by Julie Taymor, Across the Universe (339 screens), has racked up an intriguing mixture of reviews. Some have ecstatically called the film a rousing success, and Anne Thompson, writing in Variety, has compared Taymor to Orson Welles! Other reviews have called the film an unmitigated disaster of proportions similar to the infamous flop Sgt. Pepper's Lonely Hearts Club Band (1978), which also re-imagines several Beatles numbers and incorporates them into an ill-advised movie musical. Myself, I rated the film somewhere in the middle. I thought it had a handful of truly inspired moments, a few truly awful moments (apologies to Eddie Izzard), and a great number of numbingly routine ones. (It reminded me too much of a play, not a movie.)

Writing in the New York Times a few years back, A.O. Scott mourned the absence of total disasters in the movies. A lack of disasters meant that people weren't really putting themselves on the line, and by turns, that safeguard also results in a lack of real masterworks. Pauline Kael once wrote a review of Bernardo Bertolucci's 1900 entitled "Hail, Folly." She praised "huge, visionary epics" of "mad" directors, like D.W. Griffith's Intolerance, Erich von Stroheim's Greed, Abel Gance's Napoleon, Sergei Eisenstein's Ivan the Terrible trilogy (left unfinished after Part II), and Francis Ford Coppola's then as-yet-unfinished Apocalypse Now. "The calamity of movie history is not the follies that get made, but the follies that don't get made," she said.