On the screen, the Warner Bros. and Thirteen Studio logos faded, and Leonardo DiCaprio saw Matthew lying on a dilapidated rooftop. His face, unusually ordinary, seemed nothing like his usual self.
"His acting has really improved," Leonardo muttered under his breath.
His girlfriend, Toni Garrn, seated beside him, overheard. "Leo, what are you talking about?" she asked curiously.
Leonardo gestured toward the big screen. "Matthew Horner."
Matthew was someone who always left him in awe. Starting far below him in Hollywood's pecking order, Matthew had climbed to staggering heights within just ten years. More importantly, the women Matthew charmed seemed on the verge of surpassing Leonardo's own impressive conquests.
Counting Toni Garrn by his side, Leonardo estimated he had dated about fifty girlfriends over the years.
As for Matthew Horner? The number of rumored romantic connections he had didn't seem far behind.
Hollywood's two infamous playboys truly lived up to their reputations.
Take Toni Garrn, for instance. If Leonardo hadn't made his move early, there was a real chance that once she entered the Victoria's Secret scene, Matthew Horner might have beaten him to the punch.
Life felt like a competition. As an actor, Leonardo had lost to Matthew. He wasn't about to lose again in the playboy arena.
Leonardo's mind wandered as he watched Matthew on-screen, shooting at his enemies. In his imagination, Matthew was surrounded by a harem of supermodels, all crying and pleading under his relentless "assault."
Victoria's Secret Angels had once been Leonardo's personal domain. How had Matthew managed to get there first?
It had taken Leonardo twenty years to "collect" fifty supermodels. Matthew, on the other hand, had caught up in just ten.
Could his charm really pale in comparison to Matthew's? Leonardo couldn't help but reflect. Rumors from Taylor Swift's party and the Rio gathering of Victoria's Secret Angels hinted that Matthew had no trouble handling six or seven women in one night—an endurance level that put Leonardo, a self-proclaimed sprinter, to shame.
Could this difference really make such a big impact?
The media and public often said Leonardo's history with women was more exciting than his film career. But compared to Matthew Horner, there did seem to be a gap.
Still, Leonardo comforted himself, believing he had an edge. Matthew's tastes were far more eclectic—any beautiful woman, regardless of type, seemed to catch his eye.
Leonardo, however, prided himself on consistency: "Only blonde, busty, tall, and slim beauties can catch my eye," he remarked, glancing at Toni Garrn beside him.
Looking back, Titanic had been life-changing for him. The "You jump, I jump" romance of Jack Dawson not only opened Hollywood's gates of glory for him but also expanded his access to the supermodel circuit.
In the end, fame was the real ticket to elevating one's dating pool.
Surely, Matthew would agree with that sentiment, Leonardo mused.
One thing had puzzled Leonardo over the years. So many fans wished Jack and Rose had ended up together in real life. While he was good friends with Kate Winslet, didn't those fans realize? Even based on body type alone, Kate wasn't his type.
Supermodel or not, a great body was non-negotiable.
Leonardo glanced toward the front row, where Matthew was sitting. From his seat, it was easy to see Matthew whispering to a blonde actress beside him. Their body language clearly suggested an intimate relationship.
"No wonder Matthew caught up," Leonardo muttered to himself. "This guy spends all his time either flirting or thinking about flirting."
Yet Leonardo was deeply curious. For a playboy like Matthew, who had been with countless women, what kind of extraordinary woman would have the courage to marry him?
Unlike Leonardo, Michael Fassbender, seated two seats away on his right, had his eyes fixed on Matthew's performance in the film.
Michael had known Matthew since the latter was a regular, struggling actor. He had witnessed Matthew's transformation from an unknown extra to a Hollywood megastar. The evolution had been remarkable.
As the film progressed, Michael nodded repeatedly. Over the years, Matthew had gained not only fame but also exceptional acting skills.
This role, Michael thought, could have been given to someone like Tom Hanks and the result wouldn't have been better.
If Matthew pursued an Oscar for this role, he might very well win Best Actor.
Unfortunately, Matthew had little interest in the Oscars.
Others might think Matthew was being pretentious, but as one of his closest friends, Michael knew Matthew's indifferent attitude toward the Academy was genuine.
At Matthew's current level, did he even need Oscar validation? That would be laughable.
Michael focused again on Matthew's portrayal of Chris Kyle. It was the best performance of Matthew's career—or at least one of the best.
The film depicted Kyle's journey: from a young cowboy to a soldier, from experiencing love to enduring marital crises, from a husband to a father of two. Four tours in Iraq transformed him from a man driven by simple justice to one burdened by the loss of comrades. His post-service life saw him struggling with loneliness before finally reintegrating into everyday life.
It was clear that Matthew had immersed himself fully into the role, preparing both mentally and physically to embody the character.
Matthew's performance wasn't explosive or melodramatic. Behind the sniper rifle, with his bearded face showing little emotion, he captured the essence of a real sniper—not through intensity but through restraint.
Subtle performances often reveal the highest level of skill. If anyone dared claim Matthew was a poor actor after this, Michael would have no hesitation in calling them out.
Matthew had earned that level of respect.
Not everyone, however, appreciated the film. On their way out of the theater, Michael overheard a group of young people complaining. They found the movie too subdued and not as thrilling as other war films.
One even remarked that American Sniper lacked the emotional depth of Saving Private Ryan or the visual flair of Enemy at the Gates.
Michael shook his head. These films were entirely different genres. Not every war movie needed Spielberg's touch of emotional manipulation.
As for Enemy at the Gates, a film that bombed at the box office and with critics, comparing it to American Sniper seemed unfair.
Unfair to Enemy at the Gates.
American Sniper was a work of realism. Michael admired not only Matthew's performance but also Clint Eastwood's direction.
Having undergone military training himself, Michael understood one truth about war: it wasn't about explosive spectacles. Real combat was an ever-present threat of invisible terror, a constant awareness that a bullet could come from nowhere.
Romanticized duels didn't fit a realistic tone.
Michael had interacted with many veterans, some of whom described war as a drug—dangerous and deadly, yet addictive in its thrills.
On his way home, Michael tweeted:
"Just watched American Sniper. Matthew gave one of his finest performances. Clint Eastwood is as masterful as ever!"
He left out one thought: Matthew's luck seemed to be off the charts.
A film like this had inherent appeal in America. A strong, relatable American hero resonated with audiences as much as fictional superheroes like Iron Man.
The recent Benghazi consulate attack, in which an ambassador was killed, had only amplified the film's relevance. For a movie about taking down terrorists, not achieving blockbuster status would almost feel like a disservice to those Libyan militants.
Matthew's films already excelled at the box office. With the added political fervor, American Sniper seemed destined for massive success.
Historically, Matthew's films had been weaker on critical reception. However, given the current circumstances, American Sniper was likely to receive overwhelming acclaim—even critics skeptical of Matthew wouldn't dare speak out against it.
Michael's prediction turned out to be accurate. American Sniper garnered near-universal praise from American media.
The Boston Globe called it "one of the most powerful and authentic explorations of humanity in war."
The New York Times praised the film as "a reflective and honest meditation on war, built on rare empathy."
USA Today commended the film's portrayal of the tragedy of war, describing it as "both a patriotic tribute and a deeply impactful story."
Other outlets lauded the film as well.
"After 40 years of Hollywood shaping public perception of war, Clint Eastwood's film challenges those ingrained notions."
— Los Angeles Times
"Matthew Horner delivers an astonishingly believable performance in Eastwood's unflinching depiction of the Iraq War."
— Vanity Fair
"Matthew's meticulous consideration of his character's physical and psychological state brings unparalleled realism to the role. Following Inception, this film cements Matthew Horner's status as a bona fide method actor."
— The Hollywood Reporter
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