actually, I think Sr. Cervantes' points are clear, and I don't completely disagree with them.

Strange Days brings it all together in a way, and my favorite scene from that film will play a role if I ever write on 0D30 or Bigelow directly.

Well thanks for that. Now I really don't think I need to see the movie until it's on PPV at earliest. If I liked going to movie theaters more, I might, but I don't, so I probably won't.

You seem a little skeptical about KBig's Concept Artist credentials. You should take a look at the link I added to the "early life and education" section of her Wikipedia bio: I woke up this morning wondering if I had maybe exaggerated it based on some intuitions about her, some stray bits and pieces, and the knowledge that she worked on the graphics for Semiotext(e), a notorious avant-gardish magazine. If anything, I far underplayed it. Think about the Concept and Performance Artists of the '70s '80s when she was cutting her teeth, and what they went on to do. I often think of Tim Burton that way, though I think what he mainly took from his CalArts education was contempt for Hollywood narrative conventions and for auteur pretensions, not any very highly developed critical project.

Oi - you been saving that one in your back pocket or just run across it?

All movies are snuff movies at varying and complex degrees of remove from the original crime or crimes which are themselves repetitions and reciprocations in a chain of guilt back to Cain & Abel or their mummy and daddy and their Nobodaddy. One reason I don't hardly ever go to movies anymore, but this one is one of note. Do you remember when we went to see Schindler's List? I had forgotten that he was producing the Flintstones, but had just directed in the same year JURASSIC PARK, a major hit, of course, leading to the suspicion that the T-Rex and the furnace at Auschwitz may have had some connection to each other. Or maybe the the T-Rex was the Allies, the Velociprators the Nazis, and Sam Neill was Liam Neeson.