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NOTES FROM A CINEPHILE
THE CASCADING STREAM-OF-CONSCIOUSNESS RAMBLINGS OF A SESQUIPEDALIANISTIC CINEPHILE WITH DELUSIONS OF GRANDEUR AND THE MOST PRETENTIOUSLY-STYLED ELITISM THIS SIDE OF FRASIER & NILES CRANE, NOT TO MENTION BEING A SELF-APPOINTED GRANDE INQUISITOR OF GOOD TASTE AND THE HIGHEST AUTHORITY ON WHAT IS GOOD CINEMA AND WHAT IS NOT, AS WELL AS A CULTURAL KNIGHT AGAINST THE FORCES OF PEDESTRIANISM, THE PLEBIAN WAY AND THE COMMON UNQUESTIONING MINDSET OF THE PLAIN & IGNORANT
(POMPOUS ENOUGH FOR YA?)
MOST RECENT ENTRIES ARE FOUND AT TOP OF PAGE
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ALL FUTURE COMMENTS CAN BE FOUND AT
MY ALL NEW BLOG
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November 27, 2005 - 1:25am:
The Patriot News (Sunday edition) hits newsstands today. It's the one with the article about me in (written by critic, Li Wang). I just read the article (advance copy) and am happy with it - other than being aged by one year (to 39), but who am I to quibble. Just wanted to let anyone who may be reading this know about the article. Yeah, like anyone is reading this.
Also, coming soon, will be reviews of Rent, Paradise Now and Brokeback Mountain - keep checking here for those. And, coming next week - before the 7th of December - will be my attempt at predicting what films the National Board of Review will deem worthy of year-end accolades. The NBR is the official (or is it unofficial?) kick-off of awards season. See how bad I did last year. And one last note, if you are anywhere near Harrisburg Pa - buy the Sunday Patriot dammit!! If you live too far away (or don't have the dollar for the newspaper AND don't want a souvenir copy of the article, read the story online.
One last note - I have added an about me page on the site. Just more of my ego shining through I suppose.
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November 24, 2005 - 1:55am:
Just four more days until the article about yours truly (that would be me btw) appears in the Harrisburg Patriot-News - but enough about me dammit. I am here to talk about the Top 10 Project. I recently recieved list number 100 (actually up to 115 now - damn they're coming in fast these days). I figured 100 was a good round number to say a few words about the list - so here goes.
Citizen Kane, of course, is no surprise, taking a rather formidable lead over the rest of the pack, but it is rather surprising (although very welcome) to see 2001 at number two. With Vertigo jumping to number three, it looks as though Casablanca is finally slipping out, which is just fine with me - it's the only film in the Top 10 that doesn't even make my personal Top 100 List (which will make its debut in early 2006). 8½, The Godfather, Au hasard Balthazar, Seven Samurai and La Passion de Jeanne d'arc round out the top nine, with the probably over-its-head Apocalypse Now at number ten. There seem to be some good films bubbling just below the big show too. La Rčgle de Jeu, Andrei Rublev, Tokyo Story, Persona and Sunrise are all poised to jump right in. Some surprises include the seeming lack of love for perennial list-toppers such as Potemkin, La Dolce Vita and Intolerance, and the strange love for The Wizard of Oz.
Things I would like to see include a wider range of list-makers. Over 95% of the lists so far have been from the English speaking world. I hope to extend the Top 10 Project out to Asia, Africa and the Latin American world. Also, I would like to see more modern fare get its due. In the Mood for Love is the highest ranked film from this decade, and it's only at #62. As far as the Directors list goes, after weeks and weeks of Hitchcock and Welles battling it out for the top spot (with Hitch usually just barely winning), Stanley Kubrick has come out of nowhere and taken the lead (by just a point and a half) over Hitch - leaving Mr. Welles in the dust.
Anyway, I've been babbling on for a while now, so I'm going to shut the fuck up and go to bed. But first, I want to let you know that I have posted new reviews of Walk the Line and Ellie Parker and will have new reviews of Rent, Pride & Prejudice and Brokeback Mountain up soon. (I'm attending my first non-festival press screening for Brokeback on Tuesday morning).
One other thing (you just can't shut me up can you). Awards season is just about underway and I am starting to reveal my latest Oscar Predictions. I have been way to lax in doing them this year, but I promise they will all be up before the National Board of Review announces their awards on December 7th - which I will make my annual predictions for on the 6th. If you can't wait for award hoopla to commence, check out The European Film Award Nominations. Until next time, good night, and enjoy the Macy's parade tomorrow morning. Damn, I better get to sleep already.
One final thought (damn I am hard to get rid of!) -- this casting choice really annoys the fuck out of me. Well, good night...
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November 7, 2005 - 2:17am:
I wanted to let everyone know about a site I just found out about. It's called They Shoot Pictures, Don't They? and the big deal - the thing that makes it pertinant to our Top 10 Project - is The 1,000 Greatest Films portion of the site. But don't forget to check the rest of the site out as well. Well, that's about it for right now.
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November 3, 2005 - 11:22pm:
Wow! Has it actually been nearly a month since I've written anything in this collumn? I suppose so, but with moving (have I mentioned I am so fucking sick and tired of carrying boxes and furniture up and down all those damned steps!?) I guess days go by, and before you know it...I'm rambling on and on and on again. Sorry 'bout that. I'll get onto what I wanted to say in the first place.
My Top 10 Project is becoming quite the storm throughout the web. With mentions on Cinemarati AND GreenCine Daily, the new Top 10's have been pouring in lately. So fast, I haven't been able to keep up, but then that may have more to do with my procrastination than anything else. Anyway, as I whiled the hours away adding Top 10's to the site, I decided to cut the list down to size. With 61 lists and somewhere in the vicinity of 330 films mentioned so far, it's about time to do some demographics. So let us begin.
As far as a breakdown of cinematic nationalities goes, the US is, of course, the far and away hands-down victor, with approx. 53% of the overall votes (including 7 of the current Top 10). Going down the list, we see France (12%), the UK and Japan (both at 8%), Italy (7%), Germany (6%), Russia and (somewhat surprisingly) Canada (both at around 2%) and the rest of the nations - Sweden, Austraila, Denmark, Poland, China, Hong Kong, Taiwan, Iran, Ireland, Hungary, Mexico, Greece, Cuba, India and Argentina - filling out that final 2%.
Nothing really surprising there (except for perhaps the six Canadian films voted for, but maybe I am selling the great north far too short, after all they have produced Cronenberg, Maddin, Agoyan and Snow), but when we get down to gender roles, it is a complete blowout - but then that isn't really surprising either. A mere seven films directed by women have gotten votes - out of 330 total films. The highest ranked one is Claire Denis' Beau Travail,
coming in at 39th place. Of course this is not really a bust on female directors, but more of a look at the sad fate of women in the film industry. It's not that women don't make great films - just look at Jeanne Dielman, Rendez-vouz d'anna, The Piano, Holy Smoke, Friday Night, Triumph of the Will, Meshes of the Afternoon, the highly underrated In the Cut and the aforementioned Beau Travail - but due to the fact that women are looked upon as merely physical and not creative, they are rarely given the chance to show what they can do. And don't even get me started on the plight of the African-American filmmaker - only two measly votes for a couple of Spike Lee joints have made it into the project.
As for other thoughts on the Top 10 Project - out of the 61 lists recieved so far, a whopping 50 have been from US critics and such. Only a handful from the UK, Canada and Austraila - and just one from France. I would love to get a more broad based array of responses. Critics, filmmakers and professors from all throughout Asia, Africa, Latin America and Europe. This would bring a much more eclectic feel to the list, which so far has been overly dominated by the likes of Citizen Kane, Casablanca and all the other usual suspects (to paraphrase a line from the latter film). Where are all the votes for Kiarostami, Hou Hsaio-hsien, Bela Tarr, Tsai Ming-liang, Weerasethakul, Edward Yang, Sembene, Chahine, Amos Gitai, Moodysson and others? I have invited well over 800 film experts to participate (from all over the globe) but just 61 have actually done so. Perhaps the newfound publicity will help out somewhat.
Well that's it for tonight. I think I'll sit down and browse through the newest issues of Entertainment Weekly and Film Quarterly and see what both ends of the cinematic seesaw are thinking about. Good Night, and Good Luck (you knew I had to say it sooner or later). Look for new reviews of North Country, Jarhead and Prize Winner of Defiance Ohio later this week-end.
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October 7, 2005 - 10:29pm:
I am heading off again (via Amtrak) to NYC to-morrow morning (ungodly again at seven in the a.m.). With supposed terrorist threats upon the New York City subway system (and w/ Penn Station being shut down for a few hours earlier today), all I have to say is - If I miss my first film because someone saw a suspicious hot dog wrapper, I am going to be pretty fucking pissed !! Seriously though folks, to-morrow will bring screenings of Michael Winterbottom's Tristam Shandy: A Cock & Bull Story, George Clooney's Good Night, and Good Luck, Aleksandr Sokurov's The Sun and Patrice Chéreau's Gabrielle, which stars the beautiful and magnificent, Miss Isabelle Huppert - who is supposed to be in attendance at the screening - ooh lala. I'll also be squeezing in Robert Bresson's Pickpocket, restored and playing at the Film Forum (where last year I got to see La Dolce Vita on the big screen). All in all, five films and then back again (on the bus, since Amtrak has no service back to Harrisburg later than 6:55pm for some inane reason - oh yeah, because this is Harrisburg!).
Some other news - on the it-is-all-about-me front - I am going to be interviewed next Thursday evening by Li Wang of the Harrisburg Patriot-News, for an article about my website. I've been in the paper before - all three times for my poetry and poetry magazine my wife and I used to publish - but this will be the first major exposure for me as a Film Historian + Critic.
But back to the Festival, to-morrow's schedule packs more promise than last weekend's. After such a disappointing beginning with von Trier's mediocre (a term I have never used to describe Mr. Trier before) Manderlay, I just hope I am not disappointed in one of my other favourite Auteurs, Mr. Sokurov. I would love if he were there in person, but I haven't heard anything about it as of yet. As for last week's reviews, they can be viewed here, and to-morrow's batch should be up and reviewed by Monday night. As for now, I await sweet slumber - and that damned alarm at 6am.
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October 2, 2005 - 11:47pm:
Just got home from the New York Film Festival, but I'm going to wait until to-morrow to post my reviews of the films I saw, due to exhaustion taking over my body right about now. I do want to say a few things, so as not to feel to worthless.
Fisrt off, it wasn't a very impressive festival so far (at least of what I saw of it), in fact one might even say it was a disappointment - in fact, one will say that. It was a disappointment. Out of the four films I have seen so far, none of them really blew me away, as opposed to some of last year's choices (Vera Drake, Tropical Malady, Saraband). The most distressing moment though, came about midway through my viewing of Lars von Trier's Manderlay, when I suddenly - and agonizingly - realized that the master's follow-up to his brilliant Dogville, was nothing more than a seemingly tired eternal loop of unoriginality and uninspired deja vu - which is why I counteracted the Manderlay poster from my last comment blurb to the much holier Dogville poster. You see, whereas Dogville was a sweeping minimalistic masterpiece, showing us the rampid selfishness and good old fashioned stupidity of America, Manderlay, although a noble and thoughtful attempt at showing the insanity of racism in America, is merely a limp shadow of the former. But enough of that. Save it for the review dammit.
I suppose I should go to bed now. I love New York, but trying to do as much as humanly possible (in the timeframe between or after screenings) takes its toll on an old man of thirty-eight (I nearly typed thirty-seven, my mind is going too). Once I live there - a thing I promised myself to be doing by the age of forty (a year and a half !!?) - I won't have to rush to squeeze in as many films as possible and still have time to shop and eat. Who am I kidding - of course I will.
So off I go. To-morrow come my reviews of Manderlay, Tale of Cinema, Something Like Happiness and Breakfast on Pluto, but since you probably won't read this babble until after that - the reviews are here. I'll also be seeing A History of Violence to-morrow eve, so that review may be stuck in somewhere as well - like perhaps here. Okay, okay, I'm going to bed, but don't forget to come back to this page for my "Most Anticipated" list for the rest of 2005, as well as comments on the festival - including thoughts on Neil Jordan and Hong Sang-soo, both of whom did Q&A's after their respective films. Damn I'm tired.
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September 30, 2005 - 8:15pm:
To-morrow morning, at the ungodly hour of seven a.m., I head off upon the sleek rails of Amtrak Keystone Service, to the greatest city on Earth. "The Bronx are up and the Battery's down. Where people ride in a hole in the ground.". The reason? New York Film Festival, of course. I am set to see von Trier's follow-up to the genius of Dogville, Manderlay (although I'm not sure if this will hold up to my memories of the first film - even if von Trier is my favourite filmmaker of today, with close runners-up, Bela Tarr, Sokurov, Wong Kar-wai and Kiarostami). That will be film number one. You can read all about that film, and the others at my NYFF page, once I return on Monday (I'll also be going up next week-end as well for a second round of films, that will include Skurov and Winterbottom).
As for any other updates upon my site, such as my Oscar Predictions and new arrivals to the Top 10 Project, they probably won't happen until next week, due to my festival coverage, but just sit back and relax and I'll be back on Monday with both NYFF coverage AND the Films I am most looking forward to this Awards Season.
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September 27, 2005 - 1:29am:
No matter how many films you want to see, you will never see them all. Everytime I find a new film to add to my will-see list, I inevitably come across three more that go to the top of the list - and so on and so on and so on.
I have recently (like in the past year or so) finally gotten to see some long-in-the-waiting works, such as Béla Tarr's Sátántangó, Chantal Akerman's Jeanne Dielman, Bresson's Au hasard Balthazar and Godard's Histoire(s) du cinéma, but there are still many others still out of my reach. Mainly these are of the Experimental realm of things. The films of Michael Snow, Ken Jacobs, Jonas Mekas. I have seen a collection (on dvd) of the films of Stan Brakhage, but Snow, Jacobs and Mekas still outrun me. Unavailable on any sort of dvd and/or vhs, Michael Snow remains an enigma, even though I have read exstensively on his films. Wavelength, which many consider the greatest work of cinematic experimentation, is still on my "to do" list. Fortunately, thanks to those wonderful denizens of MoMa in New York, I will soon add Wavelength (along with many other Snow films) to my films seen category. A retrospective (in conjunction with an art installation of Snow's) is due in October and November. But still no Ken Jacobs dammit. No Star Spangled to Death !!!
The problem mainly lies in the fact that many of these "fringe" films, like those of Snow and Jacobs, as well as Peter Watkins, Matthew Barney and the J. Hoberman praised Jack Smith (his Flaming Creatures was cited as the greatest film of all-time by Hoberman in the 2002 Sight & Sound Poll) are just not deemed "commercial" enough to merit dvd releases. Although scrutinous (and tireless) web searching will yield some treasures found (such as my delight at finding Godard's Histoire(s) du cinéma on e-bay), but it is a long harrowing road ahead. Luckily places such as MoMa and the Anthology Archives exist to help us out - sometimes. If only I were closer than three hours to NYC.
Anyway, here are the films I most want to see, but are nearly impossible to find. If you have any clues whatsoever, for my treasure hunt, please, please, please, please, please, please let me know. Drop me a line at kevynknox@thecinematheque.com.
- The Cremaster Series (Matthew Barney, 1996-2002)
- Khrustaliov, My Car! (Aleksei German, 1998)
- Flaming Creatures (Jack Smith, 1963)
- La Commune (Paris, 1871) (Peter Watkins, 2000)
- Edvard Munch (Peter Watkins, 1974)
- *Corpus Callosum (Michael Snow, 2002)
- Wavelength (Michael Snow, 1967)
- King Lear (Jean-Luc Godard, 1987)
- Star Spangled to Death (Ken Jacobs, 2004)
Positive news though (other than just the Snow Retrospective at MoMa) is the fact that Edvard Munch was recently restored and re-released in theatres (which I ended up missing at every turn), so it should have a dvd release sometime within the next 3 to 6 months.
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September 24, 2005 - 10:04 pm:
Greta Garbo. Rather a strange person to have risen to the level of sex symbol, don't you think?
I watched Ninotchka for the first time last night, and instead of writing a review on the film, I decided instead, to talk about the supposed sex appeal of it's star, the aforementioned Ms. Garbo. You see, my wonderment is not exactly set toward her "unique" looks (not really attractive, yet not necessarily unattractive either), but more at the "strangeness" of Hollywood - and the world for that matter - calling her a sex goddess (and many have). Usually, whether it be old Hollywood or new, a sex symbol must be alluring, beautiful, curvacious (even if it is in the rather anorexic Lindsay Lohan/Kate Moss kind of way), have the ability to bat their eyes just so and, above all else, be the vapid, dumb creature only built to do two things - neither of which can be shown in a movie without at least an R rating. Look at cinematic history. Marilyn Monroe. Bridget Bardot. Rita Hayworth. Veronica Lake. Jayne Mansfield. Ann-Margaret. Britt Eckland. Loni Anderson. Farrah Fawcett. Jessica Simpson. Ashton Kucher. Okay, that last one was a joke, but you see my point? No? Then please allow me to continue.
You see, no matter how smart these ladies may have been in "real life" - and some were very intellegent - it was their image as the dumb sassy sex object that made them the stars they were - even if sometimes it was only temporarily. The idea of Greta Garbo, the wooden-stanced, oddly-enamoured, monatonal Garbo, was thought of as a major sex symbol...well, it's just weird, by Hollywood standards. Sure, there have been a handful of smartly sexy women throughout film's last century and yes, some of those "vapid" ladies I mentioned earlier are very talented (Ms. Monroe is one of the funniest comediennes in movie history), but to mix the sex appeal with the talent - something Garbo had tons of by the way - just strikes me as rather odd in this case. Am I over-analyzing? Probably. Am I merely babbling? Most definately!
Okay, okay, there was Marlene Dietrich. She was rather odd-looking, yet extremely sexy, and I find Liv Ullmann to be rather hot in an odd way as well, and perhaps Garbo's wooden-personality helped her with a role such as Ninotchka, and yes, it was due to English being a second language that she does seem wooden in the first place, and yes, she is fucking sexy as Hell anyway. So do I even have a point, or am I just rambling on and on and on and on and on because I have nothing much to say about the film itself? I vote for that last one. A somewhat humourous film, full of the strangely alluring sex appeal of the Great Garbo. There! I said it!! Garbo is sexy!!! Enough of this nonesense!!!! Garbo laughs and talks and turns us all on!!!!!
Of course, all this babbling about Hollywood's - and society's - ideas about what is sexy and what is not, probably should be taken with that proverbial grain of salt when I am the one doing the babbling. The reason? Well, in this day and age of Actresses' careers ending upon their fortieth birthday - or at least being "downgraded" to "motherly" types of roles - I find myself being attracted to, more than anyone else up on that big screen, a supposedly well-past-her-prime Actress of fifty years of age. Who, you ask? Look here to find out.
And speaking of the lovely Ms. Huppert. Her latest film, Gabrielle will be making it's US debut at the New York Film Festival, and this lucky bastard will be seeing it there. This will be my second trip to the NYFF (albeit truncated, but I plan on attending the entire festival next year), and other than Gabrielle, I will also be seeing Lars von Trier's newest - his follow-up to Dogville - Manderlay as well as new films from Hong Sang-soo, Neil Jordan, Michael Winterbottom and Aleksandr Sokurov. I will have updated reviews of these films, as well as sideline commentary from the festival (and some alternative takes on the festival's selections from Cinematheque correspondant, Albert H. Muth) all coming next week - so check back. As for now? Good Night, and Good Luck.
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September 16, 2005 - 7:19 pm:
The Top 10 Project has been going on for about two weeks now, and so far, not bad. I was hoping for 25 lists by the end of the month and we have 17 so far. Now my goal of 100+ Top 10 Lists by the end of the year is put into effect. There have been some pretty questionable choices (The English Patient, The Color Purple, Star Wars) and some downright ridiculous ones (Snatch ???), but overall, the neophytes are losing out and the canon is still respectable (w/ Kane, not surprisingly, winning as of right now). Still though, not a single vote yet for perennial list-toppers such as Potemkin, Seven Samurai, Tokyo Story, Modern Times, Gold Rush, Magnificent Ambersons, Wild Strawberries, The Seventh Seal, Bonnie & Clyde, The Graduate and/or La Dolce Vita. Still a long long way to go though.
Other than that, not much to say today. I am nearly finished updating my site (a summer long feat) to the new look, which means I can get back to seeing and reviewing films. My reviewing duties have been rather lackadaisical this Summer, due to my trying to see as many of the Cinematic Canon as possible. My Greatest Films List will be announced in mid October - after my coverage of the NYFF is at an end.
I must go back to the Top 10 Lists I have recieved. I just cannot leave it at that. No, no, no - I won't critisize - at least not until...well, okay. How can a person call themselves a film buff and list such horrible choices as the greatest films of all time. Sure, I made fun of The English Patient and The Color Purple, but at least those are somewhat respectable prestige pictures (and it ends up only being a difference of tastes). What about some of those other choices !!?? You see, the problem is the term "Film Buff" -- it is soooooo pedestrian, as opposed to the much more respectable, "Cinephile". The "Film Buff" enjoys Hollywood formula, but a "Cinephile" enjoys the actual art of Cinema. Some people differentiate between their "Favourite" films and those that are "The Best". There is no difference to a true Cinephile. My favourites are those that I believe to be the best - the most well-made. The most artistic. Bah to the film buff and his/her Plebian ways. All hail the CINEPHILE - master of his domain.
Was all that a bit on the dramatic-pretentious side ? Oh, who the Hell cares !! Last night, during our weekly after-Poetry hang-out session at Scotts' Grille (here in the 'burg of Harris), I was asked if I ever saw a particular film, something supposedly called Jesus Ninja or Ninja Jesus, or something to that effect. My response was this: "No I haven't. Did you make that up?". I am proudly pompous when it comes to Cinema (and for that matter, poetry, literature, painting, music, dance, food, life, the universe and everything). So, again, bah to all those neophytical Plebians !!
Ps...as far as the IMdb is concerned, the above Jesus/Ninja movie does NOT exist, but alas, all the world is not perfect.
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August 26, 2005 - 10:40 pm:
Where once the names of Fellini, Belmondo, Deneuve, Mastroianni, Antonioni, Polanski and Sophia Loren were mainstays of sophisticated cosmopolitan after-dinner discussionaries, and the names of Dostoyevsky, Freud, Sartre, Camus, Kafka, Salinger and Alice B. Toklas were never shyed away from, and the stylings of Mingus, Parker, Gillespie, Armstrong, Ella and Miles Davis could be heard be-bopping their way through the streets of Greenwich Village, Soho and even Chelsea, now stand the ugly multiplexes with their million dolared smiles of Julia Roberts and Steven Spielberg and Adam Sandler box office fodder, and the bestseller list is full of staid typo'ed age-old formulas with no artistic merit whatsoever, and 50 cent (pronounced fitty-cent) owns the airwaves, and the names of Ingmar Bergman and James Joyce are lost to the Mtv-Ps2-hip-hop-happy-crappy-reality TV-Paris Hilton-Average Joe-Shrek loving neophytes and philistines whose sole reason of existence is to prove the theory of the dumbing down of America, and to make sure we re-elect cocksure cowboy know-nothings into the White house term after term, and never - I say never - learn more than we absolutely have to in order to hair-splittingly survive in this over-populated mess of a world where Dakota Fanning is given higher recognition than The Dalai Lama, and Dr. Phil is read more than Moby "fucking" Dick!!!
I'm not bitter mind you, just somewhat (okay, a lot) jaded at what this country has fallen down into. A world where Wedding Crashers and The Dukes of Hazzard are box office hits, while intelligent, artistic fare, such as the films of Bela Tarr, Alexander Sokurov, Lars von Trier, Catherine Breillat, 
Hal Hartley, Wong Kar-wai and Hou Hsaio-hsien can barely make it even in New York, let alone Peoria and the rest of the country. How can anyone in the
right mind believe that a TV show like Dog: Bounty Hunter or Blue Collar TV, or a movie such as Dumb & Dumber and/or Old School, or a book like "How Stella Got Her Groove Back" are more important (and better made) than Bergman's Persona or Fellini's La Dolce
Vita, or J.D. Salinger's "Franny & Zooey", or the works of Sartre,
Kierkegaard and DesCartes!? How is this fucking possible!!!!!?? When 7 out of 10 adults cannot even name the writer of "David Copperfield" and the average high school senior cannot even tell you who the first president was (and I am NOT making these stats up dammit), how can we expect to evolve and move on as a species!?
Perhaps busloads of Plebian-Americans can be loaded up and sent to live in Texas and/or Idaho, along with Pat Robertson, Steven King, Tom Cruise and his space alien cronies and that jackass who calls himself Diddy this week, and then maybe we can get back to the direction we were going when a film like I am Curious (Yellow) could be shown in any local theatre and noone would bat a fucking eyelash, beacuase it is art goddammit - ART!!!!!! Fuck Deuce Bigalow and arrest Jessica Simpson for being dumber than dirt!!! We need a cultural revolution, and I don't mean the kind that Mao did in the sixties, but then I am sure nobody has even ever heard of Mao, so fuck it all!!!!
Okay, that was way over the top, but let's face it, the things I was ranting and soap-boxing about are really happening and there is not a god damn thing we can do about it other than keeping away from American Idol and hoping beyond hope that Tarkovsky never disappears from existence.
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