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THE TEXTUAL INSTABILITY OF BROOKLYN’S FINEST
In the first major deal of the festival, Antoine Fuqua’s cop drama Brooklyn’s Finest was sold to Senator, reports Gregg Goldstein at MovieCityNews, in a “low-to-mid seven-figure pact” with a “$10 million P&A commitment.” Senator President Mark Urman has always been good for a quote, and that’s no exception here. After noting to Mike Jones at Variety his personal connection to the material — “Being from Brooklyn, this film is important to me” — he muses on the film’s poorly-received, Hamlet-like ending with the kind of postmodernist flair I’d expect to hear in a discussion of the David Foster Wallace adaptation that’s here. “It strikes me that the ending will be different,” he says to Jones. “But Antoine must be happy with it.” To Goldstein he goes further, summoning up the spirit of Borges and Calvino. After saying that “yes, of course” the ending will be cut, he continues about that final bloodbath seen by 1,100 people at the Eccles the other night: “It’s apparently not even in the script, and I view the very ending as something that’s not even in the movie.”
