There are enough allusions to the star’s life in this tale for a younger audience to be intrigued.  References to her great affection for “Papa” Hemingway are well founded.  Ava made three films based on his stories: The Killers with Burt Lancaster, The Snows of Kilmanjairo with Gregory Peck, and The Sun Also Rises with Humphrey Bogart, forming a fast friendship with the author.  Mazar’s free-wheeling character defends her “Papa’s” philosophy that “it’s the castration of desire that is indecent.”

U.S. movie theaters have closed nationwide as a result of the coronavirus pandemic, turning dark nearly all of the country's 40,000-plus screens in an unprecedented shutdown. With most of Hollywood's March and April releases already postponed, the Walt Disney Co. on Tuesday also cleared out its May releases as well, including Marvel's Black Widow. The largest chains had tried to remain open even as Hollywood postponed its upcoming release plans and guidelines for social distancing steadily diminished the recommended size of crowds.

Travelers, as a rite of passage, would leave behind countless out-of-state license plates to prove to the world they had arrived in the promised land. Those license plates still decorate the bar at Barney’s Beanery today. Embraced by Hollywood royalty as a down-to-earth alternative to the region’s growing number of snooty formal dining establishments, Barney’s soon became a home away from home for such early movie stars as Clara Bow, John Barrymore, Jean Harlow, Clark Gable, Errol Flynn and Bette Davis.

The shortsightedness of the filmmakers is on display in an unsettling way; they didn’t take into account two fundamental aspects of acting that make all the difference: eyes and physicality. Scorsese expressed concerns about how the de-aging affected the eyes of the performers earlier this year on A24’s “A Bigger Canvas” podcast, saying, “Certain shots need more work on the eyes.” But an even bigger problem is the fact that the actors, now in their mid-70s or older, don’t have the physicality of their younger selves.

The ending notwithstanding, there are times when the movie soars: The opening sequence that accompanies the credits is a breathtaking collage that plunges you completely into the headspace and milieu a different totally time. Brad Pitt gives the coolest performance of his career, and I mean “coolest” in the purest possible sense: cooler than Brando at his coolest, cooler than Steve McQueen (who appears as a character in the film long enough to give a monologue before disappearing completely). Pitt’s rapport with his dog is one of the more touching elements. 

There have been other changes as well, and I ultimately see most as neutral. It’s easy to say, “Films used to be better,” or, “They don’t make ’em like Gone With the Wind anymore.” But it’s important to remember that we tend to view film history with rose-colored glasses. We remember the gems and forget all the trash. Today, we have more content than ever before and — accordingly — more garbage. But we also see a number of really fantastic movies released every year. 

The final chapter in a decade-long superhero saga and the remake of a big-screen classic could topple box-office records during a summer movie season expected to be dominated by Walt Disney Co. Avengers: Endgame from Disney’s Marvel Studios kicks off Hollywood’s parade of potential blockbusters on Wednesday, and it is expected to start with a bang. Industry experts say Endgame will likely deliver the biggest opening weekend ever in the United States and Canada.

If Wagner does prove to be too controversial or if we finally admit that the Ring Cycle is too long and stuffier than a Lord of the Ring marathon, Strauss, Weber, and Beethoven can give us that German opera fix (as well as many other Austria-Germanic composers, such as Mozart, Schoenberg, and Berg, if we choose not to care too much about political borders and the like). If film witticism and quirk ala Woody Allen is what you’re craving, Noah Baumbach, Sofia Coppola, and Wes Anderson will save the day. And there is definitely no shortage of white male actors and poets. 

Evolving movie-watching habits have brought new buyers in recent years, with Netflix and Amazon.com Inc leading the march of digital outlets to Sundance. The streaming services had started to outbid Weinstein Co for standout films. Filmmakers prospered as Amazon paid $12 million for “The Big Sick” and Netflix paid $12.5 million for “Mudbound” in 2017. This year, it was unclear whether those outlets will replace Weinstein as the pacesetters.

Even films like “Creed” and “Straight Outta Compton” which were viewed as Oscar contenders only garnered nominations for Sylvester Stallone and white writers Jonathan Herman and Andrea Berloff. And, unsurprisingly, after 88 years there are still no Oscar nominations for Native American actors or filmmakers or writers. Indians have been a part of Hollywood at least as long as the cowboy. But the struggle to disentangle our modern selves from the old storylines set up at the dawn of the medium of cinema continues into the 21st century.