Last weekend Sutton (26 months) made it through her first full-length movie in a movie theatre — Wonka. When Jett was two he watched Lawrence of Arabia (i.e., “camels”) at least two or three times; ditto E.T., The Extra–Terrestrial (i.e., “E.T. home”).

Nobody is more queer for movies dealing with neurofibromatosis than myself, but an instinct is telling me to give this puppy a pass…no offense.

Bill McCuddy: “Tuesday morning’s Academy nomination are going to lean into Maestro more than you think.”

HE to McCuddy: “Carey Mulligan will be nominated, of course. Anything above and beyond will be surprising but welcome. I’ve been a devout worshipper from the get–go, but so many people have a bug up their ass about it. “

A24 will open Rose Glass’s Love Lies Bleeding on March 8th, just a few weeks hence. Delivers quite an ending a la Saint Maud. The question is “what kind of freaks?”

Two days ago (1.19) a Facebook tribute congratulated Tippi Hedren for having reached her 94th year (blow out the candles!) as well as her acting in Alfred Hitchcock’s The Birds (‘63) and Marnie (‘64), among other efforts and creations.

HE to Hyland: She hasn’t out-lived this critic.

Hedren’s characters in The Birds and Marnie have always struck me as curiously prim, overly tidy mannequins. She fit that immaculate, early ‘60s department store window persona — not just conservative, but a bit chilly and brittle.

I’m sorry but you don’t believe for a second that either character has ever been possessed by a single erotic impulse.

Hitchcock was once quoted saying that Hedren “didn’t bring the volcano.” He wasn’t wrong.

Grace Kelly had a similar porcelain quality, but one always sensed an undercurrent of suppressed hunger and passion from her performances.

There’s nothing wrong with inhabiting or conveying a curiously chilly and brittle persona, but if that’s your main game there’s not a lot of range involved.

Try to imagine Hedren as Blanche DuBois — you can’t.

She radiates a certain cool officiousness, a real-estate agent vibe. As such Hedren has reminded me of many women of wealth and assurance that I’ve run into or have known in upscale circles. There’s nothing false or ungenuine about this.

Is the private, off-screen Hedren a woman of kindness, elegance, poise, compassion, etc.? Allegedly so and good for her. She’s lived a good, long, healthy life, and she loves her big cats.

But remember Mitch Brenner mentioning that salacious news item about Melanie Daniels having allegedly taken a nude dip in a pool surrounding a large Roman fountain? The instant he brings this up you say to yourself “no way…Melanie Daniels isn’t the type to disrobe in public, drunk or sober, and she never will be.”

And that’s fine. No disapproval — just a statement of fact. I wrote this as a retort to Tom Hyland.

I’m going to stick my neck out by saying I’m probably the only tristate area guy with a Red River belt buckle and a “Kennedy for President” sticker on my car’s rear bumper.

I’ve never been able to give myself over to Sam Peckinpah’s Major Dundee, a 1965 Civil War–era western, and I’ve frankly stopped trying.

Was the 156-minute version ever seen by anyone except R.G. Armstrong? The 136-minute version is longer but is it necessarily, positively better? I’ve only seen the shortest version (126 minutes) with the Mitch Miller sing–alongers on the soundtrack.

I know two things — during the ‘60s, ‘70s and early ‘80s Peckinpah allowed his career to be stained and diminished by raging alcoholism, and that with the exception of three films (Ride The High Country, The Wild Bunch and Straw Dogs) everything he was involved in was to varying degrees colored by rage and snarls and waste.

Over the years his persistent asshole-ishness overwhelmed his creative visions, and people just got sick of him.

I own a Bluray of Bring Me The Head of Alfredo Garcia (‘74) and I’ve watched it exactly once. There’s a reason for that. The nihilistic finale leaves you with nothing. Maybe I should give it another go.

I’ve seen Cross of Iron (1977) once, and while I have a favorable recollection of James Coburn and Maximilian Schell’s lead performances, I mostly recall Gene Shalit calling it “a movie of bad.”

All this aside, I sure do envy Joe Dante for having seen the 152-minute version of The Wild Bunch (7 minutes longer than the official, definitive 145-minute Bluray) during the 1969 Bahamas press junket.

Dante recalls as follows: