There’s been much fuss about the MPAA hobbling “Blue is the Warmest Color” with an NC-17 rating, the film’s inability to screen in Idaho, and so on. In New York, however, one theater — the IFC Center, of course — is taking matters into their own hands by ignoring the restrictive rating. Manager John Vanco says viewers of high-school age will be admitted, stating: “This is not a movie for young children, but it is our judgment that it is not inappropriate for mature, inquiring teenagers who are looking ahead to the emotional challenges and opportunities that adulthood holds.” That strikes me as a sensible attitude, and A.O. Scott — who has permitted his 14-year-old daughter to see the sexually explicit film twice — agrees. [New York Times]
Historian Alex von Tunzelmann takes issue with what she perceives as US jingoism in “Captain Phillips.” [The Guardian]
Steve Pond wonders whether the stratospheric festival reviews for “Gravity” and “12 Years a Slave” left the film nowhere to go but down upon release. [The Wrap]
R. Kurt Osenlung considers the Oscar prospects of “The Great Gatsby,” declaring it the frontrunner for Best Costume Design and Best Original Song. [House Next Door]
An excellent examination by Calum Marsh of Steve McQueen’s pre”Hunger” film work. [Film.com]
Scott Feinberg offers his take on the departure of several Oscar hopefuls from this year’s race (though including “The Immigrant” and “Grace of Monaco” as “major contenders” is a stretch). [The Race]
George Clooney, meanwhile, further explains the postponement of “The Monuments Men,” and blast Sharon Waxman. [Deadline]
Why “Gravity” and “All is Lost” do what television cannot. [Tribeca Film]
The Weinstein Company will release Justin Kurzel’s new take on “Macbeth,” with Michael Fassbender and Marion Cotillard. [The Dissolve]