Some have been saying over the last 48 hours that if Kevin Costner‘s two-part Horizon: An American Saga is deemed Best Picture-worthy, guild and Academy members will have to either vote for Part One (which is opening on 6.28.24) or Part Two (opening on 8.16.24)j, but they can’t vote for Horizon as a single long film with two parts. One or the other.

What are they talking about? Of course they can vote for Horizon as a single entity!

The unified Lawrence of Arabia that we all know is a 227-minute, two-part film separated by an intermission.

After Part One ended at the two-hour mark, the music swelled, the word “Intermission” appeared, the film came to a stop and the lights came up. And then, 15 minutes later, Part Two began and ended 107 minutes later. That’s how it was shown. A lot of industry people voted for it in early ’63, and Lawrence would up winning the Best Picture Oscar.

But let’s imagine that instead of showing Lawrence in one big nearly-four-hour package (including intermission), Lean and Columbia Pictures decided to release Part One in early October of ’62 — a two-hour, World War I-era film about T.E. Lawrence, titling it Lawrence: Cairo to Aqaba. And then in early December they released Part Two, an 107-minute film called Lawrence: Despair and Downfall.

Lean and Columbia explain that they simply felt that the film could be better appreciated in two separate viewings. It’s still the same 227-minute movie — they just decided to show Part One and Part Two separated by two months rather than 15 minutes.

What kind of idiot would say “oh, no…you can’t do that! You can’t show Part One and Part Two eight weeks apart. If you show these films as a pair on a single evening, separated by a 15-minute intermission, fine, But if you can’t show two separate parts and expect us to vote on them as a single film experience….no way!”

What’s the difference between this and how Costner is planning to unveil Horizon, as a two-parter separated by several weeks between openings? Who would prefer it if Costner announced that both parts of Horizon will screen as a single experience, except it will last nearly five hours or maybe longer with an intermission? That sounds like a sore ass to me. I would rather see it in two separate viewing experiences.

I’ll soon be catching a 3.22 screening of Jonathan Parker and Marlo McKenzie‘s Carol Doda Topless At The Condor. Due respect to the life and legend of the late Carol Doda (i.e., the first-ever topless club dancer), but I’m mostly interested in the bizarre death of Condor Club manager Jimmy Ferrozzo. It happened right around Thanksgiving of 1983. The “beefy” 40-year-old Ferrozzo was crushed to death by a white, hydraulically-lifted piano while he was doing the deed with one of the club’s strippers, 23 year-old Theresa Hill.

Sydney Sweeney and Simona Tabasco‘s offensively empty “eff, marry or kill” video doesn’t register on HE due to the eff word.

Michael Mohan and Andrew Lobel‘s Immaculate opens on 3.22. Is it okay if I pass? Of course it is. I don’t know which genre I hate more — Millennial/Zoomer horror or big-studio animation.

This isn’t a definitive, comprehensive correction of yesterday’s “Eliminating 2024 Best Picgture Contenders” piece, but just a post that adds a few titles. The idea, remember, was to differentiate between films that might have a shot at being in the late ’24 and early ’25 Oscar race, and those that obviously haven’t a prayer.

I didn’t mention Jon Watts‘ Wolfs, a George Clooney-Brad Pitt “psychological thriller” of some kind. Why they’ve gone with the non-grammatical Wolfs rather than Wolves is anyone’s guess.

Nor did I mention Robert Eggers’ Nosferatu (how many damn Dracula films
have I sat through?…how many more to come?), Justin Kurzel’s The Order (white supremacist baddies),
Duke Johnson’s The Actor,
Ron Howard’s <em>Eden and Richard Linklater’s Nouvelle Vague (currently filming).

I should have included Alex Garland‘s Civil War as a possible Best Picture contender. Obviously my error but as I mentioned a couple of days ago that there’s no trusting SXSW buzz.

I also should have mentioned Terrence Malick’s The Way of the Wind but any film that’s been in post since 2019 has to be regarded askance or at least with a degree of suspicion.

Speaking as a huge fan of Audrey Diwan’s Happening, her forthcoming Emmanuelle…well, who knows but it appears to be a sapphic variation on Just Jaeckin’s 1974 original, which was primarily about softcore titillation.

Clint Eastwood’s Juror No. 2 also should have been mentioned; ditto Luca Guadagnino’s Queer, a script version of which I’ve been sent and have read about half of.

When Chris Halverson had the temerity to suggest that David Leitch‘s The Fall Guy might become this year’s Barbie or Top Gun, I responded as follows: “You’re farting around by even mentioning this kind of flotsam in an award-season context. You can totally, absolutely forget The Fall Guy, obviously a wank-off, jizz-whiz distraction, in any sort of award-season context. Leitch (John Wick, Bullet Train) is clearly a soul-less popcorn exploiter who’s only in it for the money and the cheap highs.”

I was need to repeat this passage: “Paul Mescal and Barry Keoghan are problematic, anti-charismatic actors who alienate as much as attract. At least from HE’s perspective. In my view they are human torpedoes with a bizarre gyroscopic mechanism that causes the cylindrical device to do a 180 once fired and head right back towards the launching submarine. Beware of Keoghan and Mescal!”

The best HE comment about Kevin Costner’s Horizon came from Naido: “Costner is more woke than people remember — he’s just not a post-2016 obsessive. I think his movie will be 10-years-ago-liberal, which will sail by in 2024 though it would’ve taken a beating from 2016-2022. Winds are changing just a bit.”

Back in the bad old 20th Century “hook nose”, a perjorative term about Jews, was used here and there. Wikipedia has a “Jewish nose” page, and the first sentence reads as follows: “The Jewish nose, or the Jew’s nose, is an antisemitic ethnic stereotype, referring to a hooked nose with a convex nasal bridge and a downward turn of the tip of the nose.”

And yet some people of various Middle Eastern tribes (Hebrew, Arab and others) do have hook noses — they’re an anatomical fact of life. And one of them, inescapably and undeniably, belongs to Bob Dylan. Look at the two photos below — there’s no debate.

And yet the fake (i.e., prosthetic) Dylan nose currently being worn by Timothee Chalamet as the filming of James Mangold‘s A Complete Unknown gets underway, is clearly a modified Dylan schnozz — i.e., definitely not hooky.

Why is it an “almost” Dylan nose rather an actual, accurate one? Because Complete Unknown director James Mangold is terified of igniting the same kind of negative social media reaction that slightly tarnished Bradley Cooper‘s Maestro, despite the fact that his Leonard Bernstein prosthetic nose looked totally fine in the film — it just seemed a wee bit extreme in a single black-and-white photo.

Mangold is still taking no chances. He undoubtedly told his makeup department to err on the side of caution. They’ve apparently succeeded.

A Complete Unknown is a ’60s biopic about Dylan transitioning from acoustic folk to electric rock. It costars Elle Fanning, Edward Norton, Nick Offerman, Monica Barbaro and Boyd Holbrook.

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From HE’s mid-March perspective, there’s only one 2024 film that looks, sounds and stomps around like a meat-and-potatoes Best Picture contender.

That would be Kevin Costner‘s two-part Horizon: An American Saga (Warner Bros., Chapter One on 6.28, Chapter Two on 8.16).

But of course, wokester Oscar handicappers (i.e., Clayton Davis and the gang) are already against it because it’s about “the expansion of the American west” (i.e., white settlers in covered wagons rolling through Native American territory), and because the Yellowstone-linked Costner is generally perceived as too white, too old and too conservative. One thing’s for sure, and that’s that Lily Gladstone probably won’t be approving this film any time soon! But at least it’s big and eye-filling and going for the big chomp.

I’m putting my money on Horizon and, I suppose, Steve McQueen‘s Blitz because they feel semi-urgent and seem to be occupying their own turf, and have probably figured themselves out to some extent. They may amount to something Oscar-wise because of the commanding energy of their directors.

Otherwise 2024 is clearly looking fairly weak. Last year’s strikes (SAG and WGA) all but ruined our current annum. I’m just going to plow through some of the Best Picture contenders and explain why most of them don’t seem formidable or flinty enough or otherwise unlikely to connect with Joe and Jane Popcorn.

The whizbag stuff aside, Horizon and Blitz seem like the only two 2024 films that don’t feel cloistered or woked up or seemingly guilt-trippy or generally confined and audience-punishing.

Okay, let’s add Ali Abbasa‘s The Apprentice (Sebastian Stan as Donald Trump!), Todd Phillips‘ Joker: Folie a Deux and Paul Schrader‘s Oh, Canada.

What am I missing? What am I overlooking?

Steve McQueen‘s Blitz (Apple Original Films)…London blitzed by German bombs in early 1940s…likely Best Actress action for Saoirse Ronan…strong contender that I was hoping would debut in Cannes two months hence, but now I’m hearing “maybe not” and that Venice/Telluride is more likely.

Edward Berger‘s Conclave (Focus Features)…based on 2016 Robert Harris novel, British-American thriller about finding a successor to a suddenly deceased Pope. Written by Peter Straughan. Costarring Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini. Good reviews, probably not happening.

Ridley Scott‘s Gladiator 2 (Paramount, 11.22) gets an automatic demerit (if not a disqualification) because the dreaded Paul Mescal has the principal lead role, and secondly because Pedro Pascal is costarring, These two guys can kill any film of any kind. A supporting Denzel Washington (playing a former slave-turned-wealthy arms and commodity dealer with a grudge against the emperors”) is the only reason to feel aroused.

Denis Villeneuve‘s Dune: Part Two (Warner Bros.)…likely Best Picture nomination but won’t win.

George Miller‘s Furiosa: A Mad Max Saga (Warner Bros., 5.24)

Robert Zemeckis‘s Here…interesting concept…”the events of a single room and its inhabitants spanning from the past to well into the future”, etc.

Joshua Oppenheimer‘s The End (Neon)…post-apocalyptic, bad whitey guilt=trip film….”a wealthy family lives in an underground bunker two decades after the end of the world, which they directly contributed to”….forget it. Tilda Swinton, George MacKay, Moses Ingram, Michael Shannon.

Chris Sanders‘ The Wild Robot (DreamWorks animated)….forget it…a robot Cast Away…not a chance, get outta town.

Andrea Arnold‘s Bird…an automatic problem due to HE anathema Barry Keoghan (weirdo, bee-stung nose) being the star.

Yorgos Lanthimos‘s Kinds of Kindness (Searchlight)….three-part antholoogy…not this time.

Francis Coppola‘s Megalopolis…ambitious, self-funded, out there…do you honestly believe Coppola will slamdunk this? Caveat emptor.

RaMell Ross‘s The Nickel Boys (Amazon MGM Studios/Orion)…abusive Florida reform school drama…white baddies, moral condemnation, constant audience punishment.

Malcolm Washington‘s The Piano Lesson (Netflix)…reasonable expectation of good reviews, probably not happening as a Best Picture contender.

Mike Leigh‘s Hard Truths…maybe but doubtful. You know Leigh.

Pablo Larrain‘s Maria…I don’t want to watch another Larrain film about a mythic, tragic or headstrong female character ever again.

Jason Reitman‘s SNL: 1975 (Sony Pictures).

Jon Chu‘s Wicked (Universal)….forget it

A pair of Oscar weekend dust-ups happened last Saturday night (3.9).

The first, reported by Puck‘s Matthew Belloni, occured at Chanel’s 15th pre-Oscar awards dinner at the Beverly Hills Hotel, and involved director David O. Russell and Sanford Panitch, president of Sony Motion Picture Group.

Panitch reportedly tripped over Russell’s crouching or otherwise outstretched leg, which reportedly prompted the hot-tempered Russell to stand up and punch Panitch “hard” in the gut. Except Panitch’s response, according to Belloni, was to “laugh and move on” after realizing who his assailant was.

But how “hard” could that punch have been if Panitch basically shrugged it off? If someone had gone into Sonny Liston mode and slugged me in the solar plexus I would have said “whuoouhff!” and then “what the fuck, dude…it was an accident.” Panitch didn’t even do that — he went “hah-hah!” or maybe “hoo-hah!” and went on his way. Doesn’t add up. Belloni was almost certainly exaggerating.

I tried to get the skinny from one of the horse’s mouths before tapping this out…silencio.

Dust-up #2, reported by THR‘s Kim Masters and Lesley Goldberg, was about Bill Maher firing CAA, which had repped him for 20 years, when they failed to wangle Maher an invite to an elite Saturday night Oscar party thrown by CAA co-chairman Bryan Lourd.

Alas, few tasty details have been offered by Masters and Goldberg. Did Maher ask his CAA agent (Steven Lafferty) to get him into the Lourd party a day or two earlier, or did he get pissy about it after hearing about the party the next day? Did he show up at the party under an assumption that he was on the guest list, only to be turned down at the door? These are important things to pass along or at least clarify one way or the other. Maher canned CAA on Monday, or roughly 48 hours later.