First the Killers of the Flower Moon marketing team decided against booking Martin Scorsese’s murder-and-racism drama into one or two of the early fall festivals. Last May’s Cannes debut was enough, they seemed to be saying.

Now they’ve decided against a limited theatrical opening on 10.6 in favor of a big sweeping int’l debut on 10.20.

What the Apple / Paramount guys seem to be suggesting is that they don’t trust the word of mouth that may result from a limited opening, hence a preference for audiences flocking to the film wham-bam style, driven more by the name value of Scorsese, Leonardo DiCaprio and Robert DeNiro than anything else.

They’ve also released a one-sheet that strangely attempts to sell a non-existent relationship dynamic between Leo’s Ernest Burkhart (a real-life, none-too-bright bad guy) and his wife, Mollie Burkhart, also real and played by the less-than-fully-emotive Lily Gladstone.

Ernest pretends to love and care for Mollie, but he’s half-playing her the whole time and then he does even worse in Act Three. Ernest is not her protector, and Lily can actually smell the duplicity early on, or at least from the mid-point. So the poster image is bullshit.

Friendo: “Have a great time at Telluride. Keep it real.”

HE: “I try to respond plain and straight every day, and double especially whenever the Crazy Town nutters go on the attack, which is every other day.”

Friendo: “I don’t trust many opinions that come out of that festival except yours and maybe two or three others. Most of the Telluride critics are dishonest whores. Anyway, I’m hoping a few winners pop up.”

HE: “I’m going to dislike Rustin — I can feel it in my bones. I know I’m going to love The Holdovers, and I can’t wait to re-experience The Pot au Feu, or the unfortunately re-titled The Taste of Things.”

Friendo: “Keep your eye out for Saltburn, The Holdovers, All of Us Strangers and Poor Things. Oh, and all the humorless NYFF elitists fell head over heels for Annie Baker’s Janet Planet.”

HE: “Strangers might work. A gay guy conversing with his deceased parents…interesting idea. What doesn’t work for me is watching the problematic Paul Mescal in any context. I don’t know what the solution is. Maybe if Mescal were to pop one too many tabs of mescaline and suffer an overdose.

“Isn’t Poor Things supposed to be a problem film? I read that somewhere.”

Friendo: “Oh yeah? Who said that? I’m surprised since Venice, Telluride and NYFF all selected it.”

HE: “It’s in the wind.”

Likeliest, Well-Fortified, Semi-Inevitable (7)

Chris Nolan‘s Oppenheimer (Universal, 7.21 — Nolan’s pic diminished after my second viewing because — be honest — it’s overly dense and therefore punishing)
Alexander Payne‘s The Holdovers (Focus Features, 11.10.23….here’s hoping)
Greta Gerwig‘s Barbie (Warner Bros., 7.21 — enthusiasm is understandable, but it would be wrong, wrong, terribly wrong if Barbie were to win the Best Picture Oscar…don’t do it!)
Ridley Scott‘s Napoleon (Apple)
Martin Scorsese‘s Killers of the Flower Moon (Apple / Paramount)
Bradley Cooper‘s Maestro (Netflix)
Michael Mann‘s Ferrari (STX)

Semi-Likely (4)

Celine Song‘s Past Lives (A24)
Ben Affleck‘s Air (Amazon, 4.5)
Matt Johnson‘s BlackBerry (IFC Films, 5.12)
Emerald Fennell‘s Saltburn (Amazon/UA releasing)

And The Rest…(10)

David Fincher‘s The Killer (Netflix)
Wes Anderson‘s The Wonderful Story of Henry Sugar (Netflix)
Sofia Coppola‘s Priscilla (A24)
Blitz Bazawule‘s The Color Purple (Warner Bros., 12.20)
Todd Haynes‘ May December
Yorgos Lanthimos‘ Poor Things (Searchlight)
Ari Aster‘s Beau Is Afraid(A24, 4.21)
Sean Durkin‘s The Iron Claw (A24)
Yorgos Lanthimos‘ And (Searchlight — anthology film)
Jonathan Glazer‘s The Zone of Interest.

The late William Sylvester (1.31.1922 – 1.25.95) became a semi-legendary figure when he played Dr. Heywood R. Floyd, the smug and officious National Council of Astronautics official from 2001: A Space Odyssey.

Almost a comically flavorless and dull-minded bureaucrat, Floyd didn’t do or say much — he just flew up from earth to visit Clavius, the moon base, to see about the recently discovered black monolith that had been “deliberately” buried under the moon’s surface some four million years earlier.

One other significant role that Sylvester played was in Gorgo (’61). Sylvester portrayed Sam Slade, a seafaring adventurer of some sort who, along with Cpt. Joe Ryan (Bill Travers), captures Baby Gorgo, a huge prehistoric reptile who is brought to London for public exhibition. Everything seems fine until Ma Gorgo — a much, much larger beast — visits and trashes the city in order to save her son.

I’ve never seen Gorgo but my understanding is that it’s a tolerable mønster flick, but generally second tier. I’m thinking of Sylvester because a new Gorgo Bluray is currently for sale.

…that Colman Domingo‘s performance as Bayard Rustin in Rustin (Netflix, 11.3) will be a bold-as-brass, James Baldwin firecracker-type thing (which the trailer suggests), it seems to me that a film about an historical civil-rights-movement leader who was both Black and gay…that’s two checked boxes right there…plus a film that was launched by Barack and Michele Obama‘s Higher Ground Productions…that’s a third box-check given the urge to show obeisance to the Obamas within liberal circles, etc.

Should we give the possessory credit to the Obamas or director George C. Wolfe?

During his second term in the White House, Barack posthumously awarded Rustin with the Presidential Medal of Freedom. At the 11.20.13 ceremony, Obama presented the award to Walter Naegle, Rustin’s surviving longtime romantic partner.

The almost entirely all-black cast includes Chris Rock as Roy Wilkins and Jeffrey Wright as Rep. Adam Clayton Powell.

Rustin will have its first-anywhere debut at Telluride. If Barack and Michelle don’t fly in and take a few bows, the troops will be bitterly disappointed.

…and a black floral-print shirt (fairly similar to Montgomery Clift‘s Hawaiian-style shirt that he wore in From Here to Eternity) under what looks like a Brian DePalma safari jacket.

I respect and admire the blending of a noir palette with a watercolor effect, which may have been achieved via standard photo manipulation using Average Joe software…the kind you can buy on any iPhone.

David Fincher‘s The Killer premieres at the Venice Film Festival on Sunday, 9.3 — six days hence. It will open in “select” theatres on Friday, 10.27. The Netflix debut happens on Friday, 11.10.

Marketing tag line: “After a fateful near miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.”

Sutton on Sunday means that I don’t post my usual quota of five or six stories. I am, however, posting today (Monday, 8.28) from West Orange, New Jersey. At 6 pm I’ll be catching an all-media screening of Denzel Whupass in Italy (i.e., The Equalizer 3) at the Regal Union Square. And then over to an Airbnb rental two or three blocks from LaGuardia. My flight to Albuquerque leaves tomorrow morning at 9:30 am. I may or may not be in Telluride by Tuesday night, but I’ll certainly be there by noon Wednesday. Planes and automobiles, unfortunately no trains.