Liberal critics hate 'The Wizard of the Kremlin' — that's how I knew it was worth a watch



Remember around 2018 or so, when reviews on Rotten Tomatoes suddenly became suspicious?

Like movies that hit all the left-wing, DEI talking points would get 98% Fresh ratings from the critics, but then when regular people started weighing in, the audience meter would drop precipitously?

Paul Dano’s Baranov is fascinating. He’s the opposite of a typical Russian movie character. He’s sensitive, intelligent, creative, and socially aristocratic.

Or when a movie like "Sound of Freedom" came out and all the critics panned it because it was produced by a non-Hollywood Christian studio. But then, everyone who saw it loved it?

Generally, I still consult Rotten Tomatoes. But in any situation where a film can be seen as “political” or might touch on a controversial subject, I become skeptical.

Such was the case with "The Wizard of the Kremlin." It was already getting roasted months before its release. Apparently, our brave American critics wanted to virtue signal their personal animosity toward Putin.

Because of this, I became interested in the film. If the critics hate it, it’s probably good.

RELATED: MacIntyre: The real reason journalists hate ‘Sound of Freedom’

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Vive le cinéma!

Another aspect of the film I was excited about: It was made by French filmmaker Olivier Assayas. Not that the French are so independent-minded, but Hollywood filmmakers are literally incapable of addressing international politics above a sixth-grade level.

The French though. They’ve been through some stuff. They’re not afraid to talk about international affairs in a serious, adult manner.

Another thing that recommended the movie: the casting of Jude Law as Putin and Paul Dano as Baranov, his close personal adviser. (Baranov is a fictional character, almost everyone else is real.)

When I heard this, I thought: “Oh my goodness, this movie is going to be brilliant.

Another good sign: The film was adapted from an acclaimed French novel by the same name. So the story was already established. The film just had to follow it.

Story of my life

The movie begins in the present, with an American journalist traveling to Russia to interview Baranov (Paul Dano) about his former role in the Putin administration.

Through this interview, Baranov tells the story of his life, which begins in the '80s and moves through the dissolution of the Soviet Union and the emergence of Putin.

The film’s portrayal of life at the end of the Soviet Union was super interesting, in part because we rarely see this in films.

The avant-garde theater scene in Moscow in the late 1980s? Could you even picture that? I couldn’t. Until I saw it.

All the Russian interiors were super interesting. And the clothes. And the nightclubs. The supporting actors all looked very Russian. The whole thing was fun to look at. This was the end of the dowdy Soviet Union and the beginning of the reign of the gangster oligarchs.

No rush

It took 40 minutes for Putin to appear. This built suspense. You’re sitting there enjoying Paul Dano as Baranov, and then you remember Jude Law is still to come. Jude Law as Putin!

Meanwhile, Paul Dano’s Baranov is already fascinating. He’s the opposite of a typical Russian movie character. He’s sensitive, intelligent, creative, and socially aristocratic (his father and grandfather were high-level Communist Party members).

He speaks in a soft, unhurried voice. But with his big, wide, puffy face, he still looks totally Russian!

The whole “you’re in Russia” conceit was great. I don’t know if this was actually filmed in Russia, but it sure felt like Russia. (I noticed in the credits there were a few mentions of Latvia. So maybe they shot some of it there.)

Putin on the Ritz

So finally, 40 minutes in, we get our first look at Putin. In the beginning, it’s Baranov and his boss (they both work for Russian TV) who are recruiting the reluctant KGB agent.

They think Russia needs a new style of leader, someone young and energetic. They’ll help him. They’ll guide him. They’ll make sure he wins.

But Putin isn’t receptive. He’s happy where he is.

But once he gets a sniff of power, Putin rises quickly. Only Baranov is able to remain in his good graces, due to his low-key, soft-spoken manner.

Jude Law as Putin was hilarious. I laughed to myself when he first appeared. Not that it was intentionally funny. It was just a relief, and a little bit shocking, to finally see him.

It was actually a very good rendition. It was not politicized. Jude Law did the Putin scowl and facial and body expressions. It was really good. I was kind of blown away.

Smart art

Honestly, I was blown away by the whole movie. It was funny, moving, smart. It did have moments where plot points had to be explained to the audience, forcing characters to make little speeches of exposition. But that always happens when you adapt from a book.

There were also some historical/political plot points that I would maybe question. But this movie is designed for a European/American audience and has to adhere generally to our Western understanding of Putin and his crew. Because of this, Putin is ultimately “the bad guy.”

But he’s definitely a fully fleshed-out character in the film. When they show him hanging out with his old KGB buddies, you get a sense of the man behind the scenes.

"The Wizard of the Kremlin": Itwas the most intelligent movie I’ve seen in years. I thoroughly enjoyed it. Highly recommend.

A version of this review originally appeared on the Substack Travels to Distant Cities.

Nothing Says America 250 Like Top Gun Back In Theaters

If you’re looking for something to get you more excited to celebrate America’s 250th birthday than you already are, drop everything you’re doing and go see the Top Gun movies in theaters right now. To commemorate the iconic 1986 film’s 40-year anniversary, Paramount Pictures re-released Top Gun and its riveting sequel, Top Gun: Maverick, in […]

LIP SERVICE: Pedro Pascal demands goodbye kiss from departing 'Late Night' host Colbert



Get a room, you two!

The collective fawning over Stephen Colbert’s CBS exit has reached a barf-bag level of nausea. And it’ll get worse up until his final May 21 telecast. But no one will top Pedro Pascal’s ode to the far-left host.

Say what you will about Pratt, but he's hardly out of touch with his potential constituents. The former reality star's home was wiped out by the Palisades Fire.

The star of “The Mandalorian and Grogu” visited “The Late Show” this week and demanded something special from Colbert.

A kiss.

Yes, a grown man planted a firm kiss on the lips of the soon-to-be-ex host. Now, Pascal hasn’t said anything about his sexual preferences to date. Colbert is a straight married man.

Make it make sense and/or, is this any way to market a movie?

The buss was a baffling blend of cringe and bizarre behavior. Much like “The Late Show with Stephen Colbert,” for that matter ...

Troy boy

The most intriguing director in Hollywood is in damage-control mode, and his next movie doesn’t hit theaters until July 17.

Christopher Nolan’s “The Odyssey” is one of the year’s most anticipated films. And why not? All-star cast (Damon! Hathaway! Pattinson! Zendaya!), classic source material, and a director coming off the Oscar-winning “Oppenheimer.”

The tickets practically sell themselves. So what’s the problem?

For starters, the project cast Lupita Nyong’o, a beautiful Oscar winner in a role that may be another example of DEI-style casting. She’ll play Helen of Troy in the film, a role previously played by Caucasian actors (Elizabeth Taylor, Diane Kruger, and Rossana Podestà). Race-blind casting is increasingly common, and it can be distracting in some historical projects.

Elliot Page, a trans performer, is also in the film, but the role in question is still unclear.

Those two casting choices have stirred a potentially woke attack against “The Odyssey,” sight unseen. And naturally, anyone who craves authentic film casting is immediately dubbed a racist by the legacy media.

Nolan already addressed another casting question, explaining that he hired rapper Travis Scott to play a bard in the film to honor how this story was passed on via oral poetry. That’s akin to rap, he argued.

Now, Nolan is prepping for a “60 Minutes” interview this weekend.

It’s not a shock to see actors and directors do press for a project, but that usually happens a week or two before the release date. Nolan’s oh-so-early press tour suggests culture war damage control is afoot ...

RELATED: This underdog candidate's app will expose the politicians to blame for LA's shocking filth

Irfan Khan/Los Angeles Times/Getty Images

Pratt fall

Whoopi Goldberg sunk to a new low this week, no small feat.

It seems like every episode of “The View” finds the Oscar-winner beclowning herself anew. This time, she slammed L.A. mayoral hopeful Spencer Pratt in her de facto style — lots of meandering attacks but little substance.

That’s Whoopi being Whoopi. And honestly, not a big deal in our noisy media age.

This part of her commentary, though, deserves special attention:

I don't know what qualifies as the right way to be a politician, but what I do know is they have to be the people who understand what people are going through. And if you don't understand what people are going through, in the way they're going through it, when you're talking about communities, whole communities that have been burned out, whole groups, legacies that are gone.

Say what you will about Pratt, but he's hardly out of touch with his potential constituents. The former reality star's home was wiped out by the Palisades Fire, and he blames Mayor Karen Bass for the city’s incompetent response to the blaze. The home, like so many others, has not been rebuilt. Blame permit woes, insurance issues, and government bureaucracy on steroids.

It’s why the former reality-show star got into the race in the first place. To paraphrase the tagline for “Jaws IV,” “This time, it’s personal.” Tell that to Goldberg.

We’d say it’s her dumbest rant yet, but there’s always next week ...

License to cast

Remember the countless stories saying so and so actor was the leading choice to play 007 in the next James Bond film?

Rumors. Clickbait. Nothing more.

Now, finally, Amazon (which now pulls the franchise’s strings) has announced the search for the next superspy has officially begun. That’s five years after Daniel Craig’s fifth and final Bond adventure, “No Time to Die.”

The good news? “Dune” director Denis Villeneuve will be behind the camera. A great choice, full stop.

The bad news?

The next few dozen stories on the next Bond will likely include more rumors, not fact. And to be certain, some internet troll will claim that Page is the front-runner for the iconic part. And the social media outrage machine will click into overdrive, ignoring the fact that no studio in its right mind would make such a move.

Bet on it.

The Sheep Detectives Is Good, Clean Fun With An Accidental Christian Message

It was refreshing to watch a children’s movie that not only avoided inappropriate messaging but also mirrored Christian themes.

6 movies that warned us about AI



“Come with me if you want to live …”

That line from 1991’s “Terminator 2: Judgment Day” proved ironic in more ways than one.

Author Glenn Reynolds begins his new book, 'Seductive AI,' by citing this forgotten thriller.

A T-800 robot (played by Arnold Schwarzenegger) tries to protect Sarah Connor (Linda Hamilton) from the looming AI revolution. They both know humanity’s survival depends on her son living long enough to lead the human resistance.

The “Terminator” franchise remains Hollywood’s biggest red flag against the rise of AI. The all-powerful Skynet future is coming, and humanity may crumble as a result.

Wait … is that on screen or off?

The “Terminator” franchise isn’t the only time Hollywood warned us what could happen if we let AI grow unchecked. The following films offered their own predictions on how computer-generated intelligence could bring society to its knees — or simply leave us so disconnected that we don’t even bother with fellow humans.

Looking back, these disparate films have become scarier than Freddy, Jason, or Art the Clown … combined.

'Her' (2013)

- YouTube

Who wouldn’t fall in love with an AI software that sounded like Scarlett Johansson? This sci-fi parable stars Joaquin Phoenix as a lonely soul on the cusp of divorce. He decides to give his computer’s operating system a female voice (Johansson), and the two begin a digital courtship.

Naturally, the main character’s love life suffers as a result. He feels increasingly comfortable confiding in “Samantha,” even though she’s not flesh and blood.

“Her” underwhelmed at the box office, but its prescient look at computer-based romance has taken on an ominous tone given recent headlines.

'Ex Machina' (2015)

- YouTube

A computer programmer (Domhnall Gleeson) wins the chance to spend a week with a scientist (Oscar Isaac) who has created a near-perfect AI robot named Ava (Alicia Vikander). The programmer’s task? Determine if he can tell if the robot is real or synthetic by challenging it to the best of his abilities. What neither man realizes is that Ava has a surprise or two in store, using the unsuspecting humans for her own selfish purposes.

Wait, robots can be selfish?

The film’s minimalist effects proved sublime (and Oscar-winning), but the sophisticated storytelling is the main attraction. Once more, artificial humans pose a genuine threat to our species, at least on a small but significant scale. That leaves us vulnerable to our baser instincts.

RELATED: 'Crawl': Killer gators make for gruesome guests in overlooked creature feature

Paramount Pictures

'M3GAN' (2022)

- YouTube

This slick horror-comedy has the perfect solution for a young girl dealing with the loss of her parents. At least on paper.

Meet M3gan, a sophisticated AI robot designed by Cady’s aunt (Allison Williams). The creepy bot is meant to give Cady support through her pain. M3gan is almost too good to be true, until it starts lashing out at anyone it thinks is trying to hurt the grieving girl.

No computer program can replace a loved one, and the healing process requires more than a few cute AI prompts. That’s the serious side of “M3GAN,” a genre romp with a decidedly nasty sense of humor. The film became an unlikely smash, partly because it hit theaters just as AI’s real potential started to emerge.

The sequel, “M3GAN 2.0,” bombed by betraying the story’s core themes and, perhaps, reminding us how close to reality this franchise became in just three short years.

'2001: A Space Odyssey' (1968)

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“I’m sorry, Dave. I’m afraid I can’t do that.”

The best science fiction stories transport us years, if not decades, into the future. Director Stanley Kubrick’s masterpiece delivered the ultimate AI warning, an avuncular program named HAL designed to do our bidding.

We all know HAL has other plans, turning this space yarn into a cautionary tale like few others.

'Blade Runner' (1982)

- YouTube

The line between humans and replicants blurs beyond recognition in this sci-fi stunner that bombed during its initial release. Harrison Ford, tasked with erasing androids who pose a threat to humanity when they go rogue, is torn when he meets Sean Young’s beguiling character.

She’s beautiful, even intoxicating. But is she human? We know Rutger Hauer’s villainous character is all nuts and bolts, but his soulful dialogue suggests an AI creation of consequence.

The film doesn’t reflexively take humanity’s side, leaving us with uncomfortable questions about our tech-centric future.

'Colossus: The Forbin Project' (1970)

- YouTube

Author Glenn Reynolds begins his new book, “Seductive AI,” by citing this forgotten thriller. The film features a supercomputer built to prevent nuclear war, a noble mission that soon goes sideways. The bot becomes sentient, reaches out to its Russian counterpart, and decides it knows what’s best regarding the fate of humanity.

The film’s chilling coda must have seemed like pure fantasy at the time. No longer.

With The Michael Jackson Biopic Release, It’s Long Past Time To Let Go Of The False Allegations

The mega success of the Michael Jackson biopic has showed that the public has moved on from the lies, even if the media refuse to do the same.

JEDI NUT: Mark Hamill posts sick 'if only' pic of dead Trump



Lights! Camera! OnlyFans!

“My Name Is Earl” alum Jaime Pressly is the latest starlet to embrace the provocative web portal. The 48-year-old star follows in the footsteps of Shannon Elizabeth and Drea de Matteo, who also found a home on a site known for very adult material.

We don’t need Columbo to figure out who killed late-night TV. It was a homicide committed in plain sight.

“I’ve always believed in evolving with the times. … This is another way for me to connect directly with my audience, on my own terms, with creativity and intention. I’ve loved meeting fans at various Comic Cons, and the excitement of having those real face-to-face moments made me want to seek options like OnlyFans.”

Not sure it's your face they'll be coming to see, Jaime.

To be fair, not all OnlyFans content is adult in nature, but aligning yourself with the porn-centric platform does generate certain expectations — and a lot of buzz.

And sometimes the buzz is enough. Elizabeth reportedly made $1 million in her first week — and if disgruntled Reddit users are to be believed, she did it without posting anything racier than bikini pics.

The bigger picture? Starlets often struggle in youth-obsessed Hollywood to find steady work, forcing more … creative options after the age of 40.

For de Matteo, her unwillingness to follow draconian pandemic protocols helped push her out of Hollywood Inc. Progressive Hollywood, with all its MeToo starlets, didn’t have her back.

Hamill's dark side

The force is wrong with this one.

Actor Mark "Luke Skywalker" Hamill shared an image of a dead President Trump on, where else, Bluesky, with the phrase “If Only” attached. The “Star Wars” icon loathes the president, but this seemed an escalation that most — but not all — celebrities wouldn’t go near.

The post got plenty of attention, including some from major entertainment news sites. They usually hide stories that paint liberal stars in a bad light, but this was too ugly to ignore.

That spurred Hamill to backtrack, somewhat, but show little actual remorse.

“Accurate Edit for Clarity: ‘He should live long enough to… be held accountable for his… crimes.’ Actually, I was wishing him the opposite of dead, but apologize if you found the image inappropriate. 💙-mh”

Some "apologize" (sic). And sick …

No-kill Bill

Here’s betting Bill Maher isn’t eager to chat up Hamill.

The “Club Random” podcaster is liberal, like the erstwhile Skywalker, but he draws the line at wishing his political opponents dead.

He’s old-school like that.

In fact, Maher admonished some of his fellow Democrats for joining Team Hamill.

“If you’re one of these people — and there’s many in this country — who watched that and was disappointed the president wasn’t killed … you’re not a good person. Or a smart person.”

But, chances are, the ones who felt that way were watching Jimmy Kimmel that night …

RELATED: 'Crawl': Killer gators make for gruesome guests in overlooked creature feature

Paramount Pictures

Kombat pay

“Mortal Kombat II” is barely a movie. The sequel to the 2021 reboot hits theaters May 8, and it’s earning begrudgingly positive reviews — currently at about 69 percent “fresh” at Rotten Tomatoes.

That’s not shabby for a film with all the depth of a late spring puddle. Call it Extreme Guilty Pleasure Cinema.

Producer Todd Garner wasn’t satisfied, apparently, with that reasonably positive rating.

“Some of these reviews are cracking me up. It’s clear they have never played the game and have no idea what the fans want or ANY of the rules/canon of Mortal Kombat.”

He may be partially right. It is a film meant for gamers, first and foremost. And it’s still a movie-movie, and many producers would be tickled to get reviews above the 60% mark.

At least Garner didn’t single out a particular critic and cry, “Finish him!”

Murder, they wrote

Remember how Lieutenant Columbo would sniff out the killer, often by attempting to leave the room before returning with a final question?

“Just one more thing,” he’d croak, and the villain would get very nervous. Viewers knew the gooses were about to get cooked.

We don’t need Columbo to figure out who killed late-night TV. Endless one-note monologues and ostracizing half of the country proved the weapons of choice. It was a homicide committed in plain sight.

Even David Letterman, the old guard who put the funny first, thinks the format may go the way of the 8-track tape in a year.

The murder suspects are planning to gather later this month to honor the host set to depart first.

Stephen Colbert’s farewell tour as “The Late Show” host will bring Seth Meyers, Jimmy Fallon, Jimmy Kimmel, and John Oliver on for one the CBS show’s final episodes. The quintet, comically dubbed the Strike Force Five for their brief pandemic podcast, will help wish Colbert a fond farewell.

And perhaps they’ll take turns telling Trump jokes for old times’ sake. Chances are, this will be a recurring featuring until it's finally "and then there were none" time.

'Crawl': Killer gators make for gruesome guests in overlooked creature feature



There’s nothing wrong with watching “The Silence of the Lambs” again, especially to honor the film’s 35th anniversary. With or without fava beans.

The same holds for other genre classics like “Rosemary’s Baby,” “The Shining,” “The Exorcist” and “Halloween” (1978).

The unrelenting creature brought to life with lo-fi special effects makes this a fine example of 'less is more storytelling.

What about horror films that slipped by our pop-culture radar, settling into streaming obscurity? The following five films got little attention on release. They may have underperformed at the box office or simply debuted on a streamer sans fanfare.

Each is well worth a look — maybe even while uncorking a nice Chianti.

'Crawl' (2019)

If you see just one killer alligator movie this year, make it "Crawl," which Quentin Tarantino dubbed his favorite film of 2019.

Kaya Scodelario stars as a young woman checking in on her Dad (Barry Pepper) during a brutal Florida hurricane. She can’t find him at first, and his home has started to flood. Badly. That brings more than just the threat of black mold insurance claims. Some killer gators have decided to investigate the house, and Scodelario’s character would make a tasty snack.

Yes, it sounds “Sharknado”-adjacent, but the movie's hokey premise is offset by first-rate direction from horror vet Alexandre Aja (“High Tension,” “The Hills Have Eyes” (2006)). The father-daughter dynamic is handled with care, giving gravitas to the story without diminishing the chill factor.

'Hush' (2016)

This Netflix original boasts a can’t-miss gimmick. What if the protagonist in a home invasion movie were deaf and couldn’t hear the intruder breaking into her home? Every step and crash fell on deaf ears. Literally.

Horror maestro Mike Flanagan (“Doctor Sleep,” “The Fall of the House of Usher”) takes it from there, maximizing that plot device for a pulse-pounding affair that skimps on horror’s usual eye-roll moments. Credit star/co-writer Kate Siegel for crafting a credible heroine, one who never falls victim to girlbossery.

Instead, the film finds new ways to explore the central hook while allowing Siegel’s character to flash her survival instincts.

Yes, it has some slasher film DNA, but the thrilling setup makes it far more than a blood-and-guts-a-thon.

RELATED: Killer bear flick 'Backcountry' puts big-budget thrillers to shame

IFC Midnight

'Splinter' (2008)

Shea Whigham is one of Hollywood’s busiest character actors. Think “Joker,” “Mission: Impossible — The Final Reckoning,” “Boardwalk Empire,” and many more projects.

This micro-indie takes advantage of his screen presence, casting him as a crook on the lam with his reluctant gal pal. The duo abduct a couple while fleeing Johnny Law before the four run into an unexpected obstacle: a bizarre, stick-like creature that traps them in a convenience store.

The setting couldn’t be starker, forcing us to focus on the squabbling foursome. That, plus the unrelenting creature brought to life with lo-fi special effects, makes this a fine example of “less is more” storytelling.

The rest is up to Whigham, who proves his crooked character may have a redemptive arc lurking within.

'Haunt' (2019)

“From the writers of ‘A Quiet Place’” wasn’t the marketing draw the film’s studio imagined. Still, Scott Beck and Bryan Woods’ directorial effort delivers a straightforward horror film done just right.

The plot screams Genre Film 101, with a gaggle of attractive young people in search of Halloween high jinks. They stumble upon a haunted house attraction with terrible marketing but a decidedly creepy vibe.

Little do they realize the source of said vibes.

There’s little about “Haunt” that reinvents the horror movie template. It’s the efficient scares, imaginative twists, and capable cast that seal the deal. The film became Shudder’s most-watched movie premiere of 2019.

'Rogue' (2007)

If you see just one killer crocodile film this year, make it this smart Aussie thriller. Director Greg McLean (“Wolf Creek”) leverages his homeland’s stunning vistas and a better-than-expected cast for a slick terrorfest. Radha Mitchell (“Man on Fire”) stars as a tour guide steering vacationers through the country’s Northern Territory. The trouble starts when her jerk of an ex (“Avatar’s” Sam Worthington) interrupts the riverboat tour.

That’s nothing compared to what comes next. A massive croc terrorizes the boat, feasting on vacationers in the process. The serene setting lulls us into a false sense of security, but the creature feature scares prove as nasty as needed. Co-stars Michael Vartan (“Alias”) and a pre-fame Mia Wasikowska (“Alice in Wonderland”) provide the character beats, allowing us to invest in the dwindling band of survivors.

Don’t get too attached to them, though.

Russell Brand’s 'How to Become a Christian': A superficial, self-serving memoir of conversion



When Russell Brand published his 2007 memoir, "My Booky Wook," I bought it with no particular expectations. The lanky provocateur from Essex was already famous for his drug-addled, debauched adventures as a stand-up comic and onetime MTV host — a job he lost after showing up the day after 9/11 dressed as Osama bin Laden. I suspected this latest venture might be no more than a shoddy attempt to cash in on this notoriety.

I was wrong. "My Booky Wook" was engaging, witty, and painfully self-aware. Brand could write.

The unbuttoned shirts and Jim Morrison-like leather pants mask a keen intelligence and shrewd rhetorical instincts.

Born identity

And Brand can still write, in the strict sense. The sentences in his new book, "How to Become a Christian in Seven Days," are sometimes funny, often eloquent, and occasionally beautiful. The man has range. He has cadence. He has, by any measure, talent.

He also has a problem with the truth, as his subsequent New Age-inflected leftist activism has demonstrated. Now that he's taken a turn for the traditional, Brand still shows the same affinity for self-serving fabulation — and the same instinct for monetizing his "countercultural" views.

I am a Catholic. I take conversion seriously, which is precisely why I take this one so unseriously. I never agreed with Brand's anti-capitalism shtick, the Che Guevara cosplay, the Bernie Sanders lovefests — but I always thought he meant it. That was the charm. Like Jon Stewart, he used humor to make political points. Unlike the erstwhile "Daily Show" host, Brand showed real humility while doing so, presenting himself less as an authority than as a fellow truth-seeker.

It's precisely humility, ironically enough, that is missing from Brand's public embrace of Christianity.

Brand management

Part of it, certainly, is the convenient timing. In September 2023, a Channel 4 "Dispatches" documentary and a Sunday Times investigation surfaced allegations of rape and sexual assault against Brand. A few months later, Bear Grylls — yes, that Bear Grylls — baptized him in the Thames. Recently, in an interview with Megyn Kelly, Brand admitted on the record to sleeping with a 16-year-old when he was 30, calling himself an "exploiter of women." I watched the interview. He delivered the lines as eloquently as ever, but the remorse seemed rehearsed rather than felt.

Now comes the book. One hundred thirty-four pages. Thirty-three dollars. A man who once wrote a manifesto called "Revolution" about the predations of capitalism is selling salvation by the page at roughly a quarter a sheet.

The prose tells you what kind of conversion this is. Brand opens with a passage about how the title is "figurative" because seven days might take longer, then immediately explains that in the Bible, "days" don't really mean days because the earth's rotation, et cetera, et cetera and concludes: "This book has already paid for itself in cosmological bullion — 'Now I know what a day is!'"

That is, to be fair, a funny line. It is also the entire book. He cracks a gag, dresses it in Scripture, and bills you for the privilege. Later, he writes that he is "attempting to reinterpret the Bible," catches himself, and adds: "Phew, for a minute I thought I was an out-of-control egomaniac trying to rewrite the Bible and charge you for the privilege." The self-awareness is the alibi. He names the con and proceeds with it.

RELATED: What Shia LaBeouf's public struggle shows us about Christian redemption

MEGA/GC Images via Getty Images

Selling salvation

None of this is to say genuine conversion is impossible for the famous, the rich, or the disgraced. Augustine was a libertine before he was a saint. Dorothy Day had a common-law husband and an abortion behind her when she found Catholicism. Conversion is exactly the sort of thing that happens to people whose lives have spiraled. That is half of the point of the doctrine.

What separates those stories from this one is the absence of a sales pitch. Augustine wrote his "Confessions" 15 years after his baptism, in Latin, for an audience of fellow bishops, and he spent most of it agonizing over a pear he stole as a boy. Day lived a life of voluntary poverty and poured any money she made from "The Long Loneliness" back into her work for the poor. Neither of them timed their repentance to a court docket.

Any considering this purchase should realize that Brand, perhaps more than many celebrities, is a shrewd manipulator of the media. The unbuttoned shirts and Jim Morrison-like leather pants disguise a keen intelligence and shrewd rhetorical instincts; this is a man who has survived two decades in the crosshairs of the British tabloids (which, it must be said, operate with a brutality that makes their American counterparts look like Ladies' Home Journal). Brand is a warrior, someone capable of weathering the most brutal of storms.

Property of Jesus

He’s also capable of reading the room. In this case, the room is a world besotted with American evangelicalism, which tends to focus on dramatic tales of redemption more than on the day-by-day grind of repentance.

That this type of Christianity is so forthright about embracing the broken is its glory, but it can also be its blind spot. Brand has bet, with considerable shrewdness, that this audience will buy the book without interrogating the allegations behind it.

Every person is owed his day in court, presumed innocent until proven guilty. I am not here to litigate the allegations, but to question the suddenness of the transformation. People who knew Brand well have described him as sociopathic. That is plausible. If Brand's come-to-Jesus moment is no more than a way to leverage other people's decency for personal gain, the word would certainly apply.

In the meantime, the best we can do for Brand is pray, as we would for any fellow sinner. It's not for us to judge the authenticity of his conversion; that's between him and God. But we should be wary of supporting his attempts — whether cynical or simply misguided — to profit from it.

STILL THE KING: Squeaky-clean Michael Jackson biopic moonwalks all over competition



You come at the King of Pop, you best not miss.

When critics condemned the new Michael Jackson biopic for ignoring the sexual abuse allegations that haunted the late pop star, audiences had a simple retort: Beat it.

The upstart politician uncorked a banger ad campaign that shredded current California leaders for crushing the City of Angels.

Last weekend, they packed in theaters to give “Michael" a monstrous $97 million stateside haul.

The chasm between critic and general audience has never been bigger.

Now, with those gaudy numbers in hand, Lionsgate is teasing a sequel. And yes, there’s so much left to share about Jackson’s life. That “marriage” to Lisa Marie Presley. The plastic surgery mania that left the singer looking radically different and shockingly frail.

The reliance on surgical anesthetic as a sleep aid, a habit that eventually killed him. Oh, and the numerous court cases and allegations saying he preyed on children.

That’s enough for a whole franchise, but given the Jackson family is still holding the keys to the saga, we’ll have to wait and see if any or all of the above finally gets a close-up ...

'Witch' watch

Imagining. Reimagining. Rebooting.

Heck, just call it what it is. A desperate attempt to squeeze every ounce out of a horror franchise. We recently learned a “new” “Texas Chainsaw Massacre” film is in the works, with the director promising a fresh take on the property.

Let me guess ... this time around the human pruning will be emissions-free.

Now, a movie that defined “lightning in a bottle” is coming back. The 1999 found-footage shocker “The Blair Witch Project” caught everyone off guard. The film’s sneaky marketing even tricked some viewers into believing it was a documentary.

The $60,000 flick ultimately became one of the most profitable films of all time — followed by two of the most underwhelming sequels of all time.

Despite this track record, the pitch for another “imagining” of the film (Lionsgate's word, not ours) is heading to the Cannes Film Festival.

Let’s hope the project’s $10 million budget allows for someone to hold the camera steady ...

Ding-a-ling

We thought “Jeopardy” champions were supposed to be smart.

Recent winner Jamie Ding wrapped an epic run on the venerable game show, and he used his 15 minutes of fame to bash ... Immigration and Customs Enforcement.

First, he played the "as an immigrant and person of color" card. Wow, we’ve never seen that on our TV screens before. Stop the presses!

But even after 31 consecutive wins, Ding apparently can’t tell the difference between himself and the average undocumented Tren de Aragua member.

Maybe we can help: "What is illegal immigration?"

RELATED: Jimmy Kimmel: It's not 'my job' to make you laugh

NurPhoto/CBS Photo Archive/Kevin Winter/NBC/Getty Images

Jihad to be there

“The Daily Show” isn’t the dumbest program on TV. That dishonor goes to “The View.” But this week, Comedy Central's creaky fake news flagship threatened to steal the dunce cap from Whoopi and crew with a segment featuring Muslim comedian Mo Amer.

Amer whitewashed reality to both talk up Muslim achievement (fine, good!) and distract from the unrelenting headlines about radical Islamists (bad!). And of course, he wrapped by calling Americans racist for noticing the latter. Naturally.

“So stop using lazy tropes to divide people so you can bomb other countries, creating even more refugees, making you more upset at Muslims in America being doctors or engineers, lawyers, or selling you street meat out of delicious halal carts!”

Memo to Amer: It's not so much the Muslim doctors who get under Americans' skin — it's the Jew-hating, terrorist ones. Although to be fair, some enterprising immigrants manage to pull off both careers.

And by the way, if you’re going to appear on “The Daily Show,” you might want to tell an actual joke or two. You never go the full Kimmel ...

As seen on TV

Why does it take reality-show stars to fix our problems? The country elected Donald Trump twice to address the issues ignored by too many politicians, like our porous southern border. Now, “The Hills” alum Spencer Pratt is trying to do the same for Los Angeles.

The upstart politician uncorked a banger ad campaign that shredded current California leaders for crushing the City of Angels.

This is one sequel Hollywood desperately needs — “The Reality-Show Star Strikes Back.” Given the Golden State’s recent history, though, it might never get greenlit.