Why? Because it was such a good horror film that the term “horror film” didn’t fit. It was the return of the young Roman Polanski who made Repulsion. It was one of the very few “horror films” (if we must use that term) to work in adult terms — truly sophisticated, psychologically layered and all of the spooky stuff done in-camera. I don’t care about the Gold Derby odds or the campaigning or any of that stuff. By the light of the Godz it deserved a Best Picture nomination. Period.

The Bad and The Beautiful‘s Jonathan Shields (Kirk Douglas) is routinely described as a world-class manipulator and abuser — a Hollywood shit. But every one of his bad traits is counter-balanced by positive or inspirational traits, and that’s why he’s such a great “bad guy”. Because he’s a maze of contradictions. Shields is tough, charming, imaginative, determined, and a Movie catholic who talks to the Godz. Okay, he sexually betrayed Georgia Lorrison (Lana Turner) but he also saved her from being a lush and molded her into a star. He abandoned — okay, jilted — his partner Fred Amiel (Barry Sullivan) but at the same time forced him to stand on his own and make his own career. He saved James Lee Bartlow (Dick Powell) from the endless distractions of his ditzy-brained, Southern belle wife (played by Gloria Grahame) by arranging for a Latin movie idol to take her to Acapulco. Okay, so she and the movie idol died in a plane crash. Okay, so Douglas lied to Powell about what really happened. Question is, when’s the last time you saw a bad guy in a film who also had a lot of good qualities? And about whom you couldn’t quite make up your mind?

All this time I’ve been thinking of N.Y. Times film reporter Brooks Barnes as a progressive-minded, go-getter, big-city journalist — raised in Montana, educated at Marquette, formerly with The Wall Street Journal — who subscribes to the usual liberal attitudes and coastal philosophies. And then yesterday, while tapping out a box-office story about the huge success of American Sniper, Barnes revealed himself to be some kind of secret hinterlander who regards elitist art films askance. I’ve read the following paragraph over and over, and it’s hilarious how Barnes suddenly stepped out of his dispassionate mode and said out of nowhere, “This is who I really am…fuck these elite, navel-gazing filmmakers who are out of touch with real Americans!” The key phrase, of course, is Barnes’ description of the admirers of Boyhood and Birdman as “coastal intelligentsia” who busy themselves “with chatter over little-seen art dramas”…hah!

Last night I came upon this poster for Loving You (’57), the second Elvis Presley flick, and I began to think about the lives that the four leads — Presley, Lizabeth Scott, Wendell Corey, Dolores Hart — led after this moderately okay film opened. They all found differing degrees of success and creative satisfaction in their youth, but two of them — Presley and Corey — became drug- or alcohol-dependent and died relatively young, Presley at 42 and Corey at 54 due to cirrhosis of the liver. And Hart decided to become a nun at age 25 in ’63, giving up the struggle by submitting to (in her mind) a higher, stronger power. All three withdrew under the control of something other than their own determinations. Lizabeth Scott, still with us at age 92, is the only one who lived her own life on her own terms and didn’t get carried away by drugs, booze or God. Read the Wiki bio — quite the individualist. Get up right now and go into the bathroom and look in the mirror and ask yourself if you’re Presley, Hart, Corey or Scott. I’m 75% Scott, 25% Hart.

This trailer for Jiyoung Lee‘s Female Pervert, which will debut at Slamdance on Saturday, 1.24, is a reminder why Slamdance films never seem all that intriguing at first glance. The actors aren’t special enough. They seem pleasant and intelligent, but their vibes seem a little too average-schmaverage, and all the guys have that sensitive dweeby twee thing going on. They’re not unattractive but neither are they dynamically attractive or possessed of that X-factor, spark-plug quality that makes you sit up and take notice. I don’t want to be cruel but I don’t want to watch a film with people I don’t find particularly magnetic at first glance. There are always exceptions to the rule but this is one reason why I never seem to wander up to Slamdance. Female Pervert costars Jennifer Kim, Skizz Cyzyk, Brian Cafferty, Joshua Mikel, Jesse Price, Kate McManus, Taylor Proctor and Eddie Ray. (The trailer won’t embed properly for some reason — just watch it where I found it.)

This will be my first GoPro Sundance Film Festival. I’m going to be walking around with a GoPro Hero 3 Black mounted on my chest with an elastic rig, and…well, maybe I can capture some decent color-and-atmosphere footage or an interesting odd conversation here and there. Or maybe it’ll be boring as crap and I won’t post anything and just discard the idea after a couple of days. I can turn the record function on and off with the GoPro app on my iPhone so we’ll see. I have three regular batteries, a wall charger and a large back-up battery attached to the camera itself. I haven’t bought the “arm” that allows you to shoot yourself as you’re walking around but that would be ridiculous. The chest-mount camera isn’t immediately noticable and I might get away with an interesting shot or two. I’m not going to covertly record friends or talent or whatever…please. Just some random encounters, moments of stillness…whatever.

Each and every year Sundance is almost nothing but a blast — a pulsing spiritual high in terms of the films, conversations, events, parties, press conferences and the generally up-with-everyone-and-everything Park City vibe. This is my 20th anniversary of attending …no, wait, the 21st. But I’d be a lying Polyanna if I said that various irritations don’t pop through all the same. Goes with the territory.

The anti-American Sniper piece that we all knew was coming was posted late Sunday afternoon by The Wrap‘s Steve Pond, and in so doing the first liberal shot across the bow of Clint Eastwood‘s hugely popular drama — a somber-minded but nonetheless conservative, generally pro-America, God-and-country war flick that has become the apple of the American hinterland — has been fired.

The idea isn’t to diminish Sniper‘s general popularity (which would be impossible at this stage) but to cut its rep down among Los Angeles and New York-centric Oscar voters. The basic thinking, apparently, is that hinterland values, which are generally thought to embrace characterizations of Middle Eastern heathens as insect-level life forms and a belief that they deserve to be exterminated en masse, have no business influencing a basically benign, liberal-minded, hooray-for-Hollywood event like the Oscars.

Pond’s piece, which will almost certainly be followed by others in a similar vein, contends that a moral argument against the late Chris Kyle, played by Bradley Cooper in the film, is gaining traction among Hollywood types. The basic beef is about Kyle having declared in his partly self-authored book that enemy combatants he fought against during the Iraq War are “savages and despicably evil” and that his “only regret is that I didn’t kill more.”

Hollywood Elsewhere departs for the 2015 Sundance Film Festival (1.22 thru 2.1) this coming Wednesday, or a day early. I like to get all set up and settled in before it begins. Here, in any event, is a boilerplate rundown of the films everyone else is talking about. I’ve just average, common too — I’m just like him and the same as you. If there’s something I should add to this list of 25, please advise. I never seem to fit in more than 25 films over my usual eight-day period (I return around noon on Friday, 1.30). I’m posting these films roughly in order of personal interest:

Last Days in the Desert (dir: Rodrigo García — cast: Ewan McGregor) — Yeshua, plumbing the depths of his soul in the Judean desert, runs into a mirror-image Stan. Shot by the legendary Emmanuel Lubezki (Birdman, Gravity, Children of Men).

Mississippi Grind (dir. Ryan Fleck and Anna Boden, cast: Ryan Reynolds, Ben Mendelsohn) — Shrewd poker guy and a less-focused drifter gamble their way across the States to a legendary high-stakes game in New Orleans. James Toback told me last March this is a loose reimagining of Robert Altman‘s California Split. Toback performed a cameo in which he belts Mendelsohn. Grind also stars Sienna Miller, Analeigh Tipton and Alfre Woodard.

Drunk Stoned Brilliant Dead: The Story of the National Lampoon (dir: Douglas Tirola) — Based on the 2010 Rick Meyerowitz book, charting the entire arc of the National Lampoon. Presumably featuring stories about and recollections of NatLamp all-stars Doug Kenney, Henry Beard, Michael O’Donoghue, Tony Hendra, Sam Gross, Sean Kelly, Anne Beatts, Chris Miller, Gerry Sussman, P.J. O’Rourke, Bruce McCall, Stan Mack, M.K. Brown, Shary Flenniken, et. al.

D-Train (d: Jarrad Paul, Andrew Mogel, cast: Jack Black, James Marsden) — Said to be a “dark” comedy about an ex-geek (Black) attending 20th anniversary high school reunion and hooking up with one of the popular high school hot shots of yore (Marsden). Wild night is fallin’.

A Walk in the Woods (d: Ken Kwapis, cast: Robert Redford, Nick Nolte, Emma Thompson) — All opening-gala films need to be regarded with caution. (No prejudice — just speaking from experience.) Based on travel writer Bill Bryson‘s true-life account, it’s about sturn und drang as three friends hump it along the 2,100-mile Appalachian Trail.

True Story (d: Rupert Goold, cast: Jonah Hill, James Franco) — Based on real-life tale about a imprisoned killer (Franco) attempting to steal the identity of a discredited New York Times reporter (Hill). There’s something about this film that feels subdued. Can’t put my finger on it.

Mistress America (d: Noah Baumbach, cast: Greta Gerwig, Lola Kirke). Manhattan relationship shake about a college freshman (Kirke) hanging and galavanting about with her soon-to-be stepsister (Gerwig). Formerly known as “Untitled Public School Film” something or other; been in the can forever.

Kurt Cobain: Montage of Heck (d: Brett Morgen) — Authorized doc on late Kurt Cobain from his early days in to his success with Nirvana and the downfall from smack. Featuring Cobain, Courtney Love, Dave Grohl.

Taylor Swift‘s “Shake It Off” is a vapid, puerile pop tune. Not catchy…nothing. Sometimes even songs you detest have little hooks that get you and so you find yourself half-liking them…not this time. The idea of a bald beefy cop singing along to it, much less playing it while driving, is the worst thing to happen to the image of law enforcement since the NYPD work stoppage and before that the Eric Garner incident.

I don’t see what’s so bad about the reaction of Force Majeure director Ruben Ostlund when he learns his film hasn’t been nominated for the Best Foreign Language Feature Oscar. Are you going to tell me you wouldn’t register some kind of vocal disappointment if your film got the hook? Ostlund’s first reaction is to hug his producer, Erik Hemmendorff, and then let go with a kind of resigned and bitter cackle…what’s so bad about that? Okay, he loses it somewhat later on, but I’ll bet every losing contender reacts this way.

On the other hand is there any awards show or annual telecast for which the phrase “anything can happen” is less applicable than the Oscars?

You can dispute or dismiss this, but a guy I was speaking to this morning feels that in liberal Hollywood’s politically correct realm and more precisely in creative filmmaking circles of 2015, older white guys are getting the shit end of the stick in more ways than one. In one sense this is an old lament and yet to some, I’m sure, this probably sounds outrageous. I know that right now some readers are saying “what?” The Oscar nominations just demonstrated to many in this town that the old farts of the Academy don’t get it, and that they didn’t give Selma its due because they felt they did “the black thing” last year with 12 Years A Slave, and you’re saying that 50-and-over white guys are being…what, discriminated against? Your friend actually thinks that?

Yes, that’s the viewpoint. For the last 90 years, I mean. With the exception of the usual heavy-hitters and pantheon types, older directors and especially writers have always been treated this way — over, past their prime, spent. Older creative guys do tend to lose the spark — let’s be frank. Look at Blackhat, for God’s sake. But there’s something else going on now, and it’s almost on the level of that famous “aha!” that Tom Wolfe stumbled upon when he began roughing out “The Painted Word” and realized that modern art had become “completely literary” and that it only existed only to illustrate the text (or more specifically this or that conceptual theory).

What’s going on today in Hollywood is starting to become somewhat similar, for in the award-season realm it’s not just the film but who has made it — the combination of the two is what travels. Because (and I’m not saying this is an absolute law but it’s becoming more and more of an occurence) if the film is right but the filmmaker is wrong, you might be nudged out of the game. Or you might not even be considered in the first place. Or even get the film made.

French cineaste Pierre Rissient is famous for having said “it isn’t enough to like a good film…you have to like it for the right reasons.” In the same vein it isn’t enough to like or support a would-be Best Picture contender — you also have to like the right filmmaker, which means this or that filmmaker has to have earned your allegiance for the right reasons.