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The Man Who Knew Infinity

An account of a remarkable person should strive to be as equally remarkable as its subject, not the timid and tidy boilerplate special of a…

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Ratchet & Clank

At some point, the movie has to rely on the things at which it previously poked fun.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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A.O. Scott on criticism: "This is not a progressive kindergarten."

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David Carr interviewed A.O. Scott on the subject of movie criticism in a "Sweet Spot" video posted on the New York Times' ArtsBeat blog last Friday. I urge you to follow that link, watch the seven-and-a-half-minute conversation and let me know what you make of it. Carr plays the clown, but I'm not sure how much of it is intentional because most of what he says is so ignorant, and he doesn't even attempt to support it or invest thought in the conversation. Scott, as you know if you read him regularly, is quite eloquent and calls bullshit on some of Carr's more outrageous fabrications.

To help pin down my own thoughts (following up on years of writing about this very subject, including a series of recent posts and comment threads -- "Avenge me! AVENGE ME!," "The Avengers & the Amazing 'Critic-Proof' Movie," "Continuing to argue for the irrelevance of my own opinions," "Cannes and Cannes-not: On being a movie geek"), I've tried to label the various formal and informal fallacies of logic at play here, and link to Wikipedia definitions of them. Of course there are so many (in the conversation and in the list on Wikipedia) that I may have mislabeled some, in which case please let me know.

So, it begins:

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