no trivia

Ha, I guess it’s one of my most notable asshole opinions. I’ve seen people on different places on the Internet be like, “he said the American Breathless is better than Godard’s so everything Soderberg says is questionable.” LOLZ. Rafi Kam pointed out that After Hours and Last Temptation Of Christ are pretty good and though I don’t like them, they do seem preferable to his 90s and 2000s work and they at least have an interesting and subtle aesthetic. But I really like King Of Comedy and secretly love The Color Of Money, so what the fuck do I know?

Anyways, thanks for the kind words here about exploitation and Cassevetes. Scorsese’s appeal was definitely his embrace of the visceral aspect of cinema, both emotional (Cassevetes) and stylistically (exploitation). I’d even be willing to say that Killing Of A Chinese Bookie is something of a rip-off of Mean Streets. Like, Cassavetes trying to get one over on Scorsese. Also, I mean Alice Doesn’t Live Here Anymore probably has a bit to do with Woman Under The Influence, so for awhile there, these guys were maybe going back-and-forth, like on some healthy competition shit. At one point I knew this sort of thing, but I feel like Cassavetes had some notes, comments, for Scorsese about Mean Streets but maybe not.

I am intrigued by Hugo (IN 3-D!!!!!!) even though I shouldn’t be. Without seeing it, I think there’s probably a thinkpiece connecting Hugo and Woody Allen’s Midnight In Paris. I don’t know, it seems kinda interesting but also it just looks retarded? What was that movie Stardust? Reminds me of that. I think I also just can’t support late Scorsese on like my own moral, artistic grounds. Like, he’s getting older and courting legacy and that’s lame. Even Hitchcock ended with like, Frenzy!, you know? Scorsese is doing these Oscar bait movies, which is a bummer. I also kinda think Herzog has been going for legacy this decade too, so maybe I’m just an impossible jerk.