Odds: Thursday - The low, the high, the middle.

Thursday, February 1, 2007 | 8:48 PM

Edie and not-Bob. At the New York Post's Page Six today, Sienna Miller's publicist poo-poos that cough-blatant publicity-grabbing plant of a-cough New York Daily News item rumoring that Miller and costar Hayden Christensen had real live sex during "Factory Girl"'s bedroom scene. Ain't that the rub — one week you're an aspiring Oscar contender, the next you're this decade's "Wild Orchid."

At Salon, Sean Kennedy analyzes Rupert Everett's gossipy memoir "Red Carpets and Other Banana Skins," concluding that "Being typecast as gay is every actor's worst nightmare, straight or gay, and against his better judgment, our narrator embraced it. Maybe that's why Bass, Harris and Knight have gone out of their way to avoid the scarlet letter Q (or F, depending on who their costar is). And maybe that's why Everett doesn't analyze his lot in life: The truth of being an openly gay star is so obvious, and so painful."

In Artforum, J. Hoberman explores the territory of the "Sunshine Noirs," from "Sunset Boulevard" to "Inland Empire":

The same ancient belief in ghosts and secret forces and a similar sensation of time unmoored are evident in Lynch’s 2006 Inland Empire, which returns repeatedly to a ghost-ridden hotel and, among other things, involves the remake of an unfinished film. In this case, the script is haunted (“They discovered something inside the story . . . the two leads were murdered”) and so, apparently, is the set, where something seems to be lurking behind the flats. Does another Dahlia live somewhere in this seedy nightmare of sad, shabby rooms? There’s a trail of blood on Hollywood Boulevard by the time Inland Empire ends.

In the New York Review of Books, Ian Buruma takes on Clint Eastwood's twin war movies:

Eastwood is the first director, to my knowledge, who has made two films of the same battle, showing both sides from the perspective of individual soldiers with fully developed characters. Deftly, without polemics or heavy-handed messages, he has broken all the rules of the traditional patriotic war movie genre and created two superb films, one in English, the other in Japanese: Flags of Our Fathers and Letters from Iwo Jima. The latter, in my view, is a masterpiece.

And at the Onion AV Club, Noel Murray and Scott Tobias revisit the big screen/small screen debate.

+ 'FACTORY' FALLACY FOOLS SNOOZE (NY Post)
+ Sad, but true, Hollywood story (Salon)
+ "A Bright, Guilty World" (Artforum)
+ Eastwood's War (New York Review of Books)
+ Crosstalk: Do Movies Need To Be Seen On The Big Screen? (AV Club)