The central device of Stephen King‘s “11.22.63” (published in November 2011) is a time portal found in the pantry of a diner in Lisbon Falls, Maine. Initially discovered and explored by Al, the diner’s ailing owner, the portal sends the traveler each and every time back to September 9, 1958, at precisely 11:58 a.m. No matter how long someone stays in the past — hours, days, weeks, years — only two minutes elapse in 2011. The plot is primarily about school teacher Jake Epping going back to 1963 to prevent the slaying of John F. Kennedy, but a lot of other history-altering things happen before that. The basic theme of King’s novel is that you can’t really fuck with time because time will fuck you right back in order to balance things out.

In this trailer for Hulu’s forthcoming eight-part adaptation of King’s novel, it is revealed that the time portal takes Epping (James Franco) back to 1960 and not ’58. Which seems odd. Why shave off two years from King’s original scheme? To what end? Oh, and those vintage cars? Too clean, too spotless, too showroomy. This always happens in period films. The owners spiff them up and the filmmakers forget to dirty them up, to make them look used and worn and exposed to the usual elements. This always looks wrong. Car washes weren’t ubiquitous back then and people didn’t have money to burn.

Comment: A guy showing up in a small Maine town in 1960 with a goatee would be regarded as some kind of commie pinko beatnik weirdo. But British actor Daniel Webber, the guy who plays Lee Oswald, looks just right.

A special debut of the first two episodes, directed by Kevin Macdonald (The Last King of Scotland), will happen a couple of weeks hence at the Sundance Film Festival. 11.22.63 will start streaming on Monday, 2.15 — President’s Day.

Gun-toting, cape-wearing Memphis yokel (Michael Shannon) asks for and is given some face time with President Richard Nixon (Kevin Spacey). The only problem with Liza Johnson‘s Elvis & Nixon, which began shooting a year ago in Louisiana, is that the material seems more suited to a 25-minute short than a feature. The karate, handgun and Dr. Pepper bits are good. (The script is by Joey Sagal, Hanala Sagal and Cary Elwes.) All along I’ve had my doubts about Shannon’s casting as The King, but I like what I see here. We knew from the get-go that Spacey would ace Nixon. But why isn’t this 4.15 release, a joint venture between Bleecker Street and Amazon, booked into Sundance?

Posted on 2.5.15: Elvis Presley launched his legendary career in part as a symbol of rock n’ roll rebelliousness against the sexual repression and conformity of the mid-Eisenhower era. But by 1970 Presley had evolved into a conservative hypocrite who wanted to do something to stop the scourge of non-prescription drug use (i.e, pot and hallucinogens) among the nation’s youth. On 12.21.70 Presley paid a visit to President Richard Nixon at the White House. Presley had hand-written Nixon a six-page letter requesting a visit and suggesting that he be made a “Federal Agent-at-Large” in the Bureau of Narcotics and Dangerous Drugs. Six and a half years later Presley died of prescription drug abuse and an overdose of peanut butter-and-banana sandwiches.

Alejandro G. Inarritu‘s The Revenant opened wide yesterday. Hinterland reactions are requested. How fresh and immersive does it seem after all the big-city circulations and ricochets of the last few weeks? And what about that warm bear breath fogging up Emmanuel Lubezski‘s lens? Who saw it in IMAX, or at least on a really big screen with a grade-A sound system?

From David Thomson‘s Film Comment review, posted on 12.1.16: “The Revenant is a profound adventure, a nearly unique portrait of the extravagant desolation in nature and an absorbing argument over the fate of mankind and its big movies. I wonder how it will do, and how a holiday public will respond to it with a jubilant Star Wars in the next theater. The film may fail in some box-office ways, but that could qualify it in a tradition that includes Intolerance, Greed, Bringing Up Baby, Citizen Kane, The Night of the Hunter, Two-Lane Blacktop, One from the Heart and Heaven’s Gate.

“Photography easily cheats nature: it dwells on the light of magic hours; it clings to the sentiments embodied in landscape, horizon and sky; it is agape at spectacle, scenery and the magnificence of wilderness. From the paintings of the German-born Albert Bierstadt (1830-1902) to the films of Terrence Malick, this mood can co-opt wildness as an idealistic American state of mind. But that ecstatic framing hardly feels the cold, the cruelty, or the isolation, let alone the terror of being hunted by other creatures.

“If you want a quick lesson in commitment to external and human nature, just notice how in the bogus, gloating 70mm stupor of in-jokes in The Hateful Eight, its winter prairie is a groomed back lot where a stagecoach (as perky as a Wells Fargo ad) comes bouncing along in a conveniently snow-plowed track.

Around noon I drove all the way out to Woodland Hills (Topanga exit on the 101, south for half a mile) to buy this nicely hand-crafted shoe rack for only $25. Built around ’55 or so. Semi-heavy and solid, not too varnished or foo-fooey — a shoe rack that Jack London or Ernest Hemingway would have approved of. I couldn’t fit it entirely into the car so I tied the hatchback down with some thick string and kept my distance from the cops, as they could have busted me because the hatchback was bobbing up and down a bit. It fit right into the bedroom decor. Very satisfying.

As mentioned on 12.30, German all-region Blurays of The Big Sleep and Key Largo will pop in early February, although I’m told the release might be delayed just a bit. (I’m expecting my package between 2.15 and 2.19.) I’ve also learned that Warner Bros. Home Video will release domestic Blurays of both titles sometime during the first quarter, or before 3.31. A posting for Warner Archives’ Key Largo Bluray appeared this afternoon.

If this is the actual cover art for the forthcoming German Blurays of The Big Sleep and Key Largo, I’m appalled.

Jacket cover of Warner Archive’s Key Largo Bluray, as posted this afternoon on Facebook.

A 1.6.06 N.Y. Times Fashion & Style piece by Unbuttoned columnist Vanessa Friedman highlighted a striking Louis Vuitton women’s wear ad featuring three female models and 17 year-old Jaden Smith, all of them wearing skirts and blouses and whatnot. Feel Jaden’s fluidity! The once-promising actor son of Will Smith and Jada Pinkett Smith had a nascent career that crested with The Karate Kid (’10), only to be killed in 2013 by M. Night Shyamalan‘s After Earth. Now he’s an avant garde, non-binary fashionista.

Friedman writes that “it is possible to see this as sheer sensationalism…there has been speculation that Mr. Smith, who has been wearing various bits of women’s clothes for a while now — a white skirt and black tux to a prom; a flowered T-shirt dress to Coachella and making statements such as ‘I like wearing super drapey things so I can feel as though I’m a super hero’ (in an interview in GQ) — has done it mostly as a canny play for attention, or to promote the idea of himself as a new thought leader (‘Went To TopShop To Buy Some Girl Clothes, I Mean ‘Clothes,’’ he Instagrammed last year).”

Nicolas Ghesquiere, the artistic director of Louis Vuitton, has adopted a more admiring if not solemn opinion of Jaden’s fashion sense. Smith “represents a generation that has assimilated the codes of true freedom, one that is free of manifestoes and questions about gender,” Mr. Ghesquière told Friedman. “Wearing a skirt comes as naturally to him as it would to a woman who, long ago, granted herself permission to wear a man’s trench or a tuxedo.”

Friedman: “Translation: This is the natural end stage of the fashion revolution started in the 1960s and ’70s when women took off their aprons and girdles and appropriated jeans. This posits millennials as the real heirs to the Me Generation, though it’s questionable whether many of Mr. Smith’s 2.4 million Instagram followers are also actual Vuitton customers.

“It’s not unisex. It’s not gender neutral or gender bending or gender free or any of the other expressions we’ve been using to describe the current clothes-fluid moment, because it is, in fact, entirely gendered, at least going by traditional definitions of men’s versus women’s clothing. The clothes and their conceptual allegiance have not changed at all. The person wearing them has.”

Netflix content honcho Ted Sarandos is quite the hotshot these days. Three years ago Time magazine listed him as one of the top 100 most influential people in the world so you have to figure he’s even more formidable today. Last night I attended what was described in the invite as a “VIP celebration at the private residence of Ted Sarandos,” which is located in swanky Hancock Park. My invite said the gathering would begin at 8:30 pm, but when I got there at 8:40 pm it was obvious the event had begun well before. The party was packed to the gills and quite noisy — you could hear the wallah-wallah of the crowd from a good distance away. Perplexed, I asked a security guy and he told me the party had actually begun at 7:30 pm. And I saw red. You don’t want to be part of the first wave of soldiers attacking Omaha Beach, but being categorized as a second-waver by Netflix publicists is a highly specific and pointed social insult. On top of which the party wasn’t happening “at the private residence of Ted Sarandos” but in a big impersonal plastic party tent outside his home. And it was mostly packed with nobodies. (Okay, I saw Beasts of No Nation director Cary Fukunaga but that was it.) My instant reaction was “good God, lemme outta here.” If you’re going to invite people to a party at your home, have the party inside your home or not at all. And don’t invite the world — keep it smallish and select. I bolted after four or five minutes. As I was walking down the driveway David Poland (obviously another second waver) was coming in. I was so pissed that I only managed only a scowl and a muffled “hey.” Poland: “Hello, Jeffrey…goodbye, Jeffrey.”

The big BAFTA news this morning, if you want to call it that, is that the Big Short momentum we’ve all been sensing (insect antennae vibrations, tingling neck hair) is looking real, and as a result the Spotlight guys might have reason to start biting their nails. Maybe. Or maybe not. Adam McKay‘s wonky housing-mortgage dramedy landed five BAFTA nominations, including Best Film and Best Director, while Tom McCarthy‘s journalism drama snagged just three — Best Film, Best Original Screenplay and a Best Supporting Actor nom for Mark Ruffalo. Then again N.Y. Post critic Lou Lumenick tweeted this morning that The Big Short “is the new Wolf of Wall Street — lots of noms but won’t close the deal.”

The Spotlight and The Big Short teams are also competing with a pair of pre-Golden Globe parties this weekend only a night apart — a Spotlight dinner this evening in Beverly Hills vs. The Big Short‘s Saturday night soiree at the Chateau Marmont. And you know who will be at these parties? The same journos and Academy members who’ve been attending all the award-season events over the last couple of months. Journo: “What…you again? I just saw you at that Bryan Cranston party.” Academy member: “My thoughts exactly, pal. No offense but have you ever considered doing something with your evenings besides schmoozing at parties and jostling for celebrity face-time?” Journo: “Same to ya, fella….oh, wait…ooh! ooh! There’s Steve Carell!”

Carol landed nine nominations, as did Bridge of Spies — a completely decent, middle-ground espionage drama that no one will be watching or talking about six months or a year from now, much less five or ten years hence. The Revenant landed eight noms. The Martian‘s Ridley Scott — “Sir Ridders” — got his gold-watch nomination for Best Director, and Matt Damon was nominated for Best Actor along with The Revenant‘s Leonardo DiCaprio (pretty much locked to win), Steve Jobs‘ Michael Fassbender, The Danish Girl‘s Eddie Redmayne (anybody with a smidgen of taste hates this movie but the none-too-brights are impressed with Redmayne’s open-hearted transgendering) and Trumbo‘s Bryan Cranston.

Mad Max: Fury Road and director George Miller got the shaft — no major noms, just tech stuff.

The BAFTAs blew off Charlotte Rampling! The 45 Years star is much more in the conversation than Lady In The Van‘s Maggie Smith but they nominated Smith and not Rampling? This is bullshit.

Set in the shag-ruggy ’70s and based on J.G. Ballard’s novel, Ben Wheatley‘s High-Rise is a creepy thinking man’s comedy that you don’t exactly “laugh” at. Call it a perverse social dreamscape, a nightmarish macrocosm of the things that afflict anyone with a hunger for the usual empty comforts. Oddly humorous, bizarre, fetishy. It reminded me of Lindsay Anderson‘s Brittania Hospital (’82) in some respects. I caught it last September in Toronto; it opens in England on 3.18. Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy.

The BAFTA nominations pop tonight just after 11:35 pm Pacific (i.e., tomorrow morning in London at 7:35 am. The lastwordonearth guys are tipping the following: (a) “The big local players are 45 Years and Brooklyn” — shocker, (b) Charlotte Rampling, Saoirse Ronan and Maggie Smith will nab Best Actress nominations, (c) The Fucking Martian‘s Matt Damon will go head to head with Leonardo DiCaprio but lose in the end, even if no one really loves The Revenant, and Ridley Scott (a.k.a. “Sir Ridders”) is in the lead position in BAFTA’s Best Director competish, (d) Alicia Vikander will land a Best Supporting Actress nom for The Danish Girl, which no one loves, (e) Bridge of Spies‘ Mark Rylance has the Best Supporting Actor award in the bag; (e) Lenny Abrahamson‘s Room “isn’t being discussed much around the scene” (it’s dying everywhere), (f) reactions to The Big Short have been “muted, (g) Kate Winslet is a “lock” for Best Supporting in Steve Jobs with Carol‘s Rooney Mara her toughest competitor, etc. I’m sorry but the BAFTAs have never accelerated my pulse rate.