Snobbin: Beautiful Trash in the Pop Culture Gutter

279. Memento (2000), Christopher Nolan, Newmarket 280. Following (1998), Christopher Nolan, Momentum 281. Bulldog Drummond Escapes (1937), James P. Hogan, Paramount 282. Checking Out (1989), David Leland, Warner Bros. 283. Arrest Bulldog Drummond (1939), James P. Hogan, Paramount 284. Foreign Correspondent (1940), Alfred Hitchcock, United Artists 285. Stalker (1979), Andrei Tarkovsky, Mosfilm 286. Multiple Maniacs (1970), John Waters, New Line 287. Mur Murs (1981), Agnès Varda, DPI 288. Straight Time (1978), Ulu Grosbard, Warner Bros.

The first time I heard the Drive-By Truckers, I wrote them off as just another band in the long line of Uncle Tupelo wannabes. My girlfriend's cousin had given me a copy of Decoration Day saying it looked like something I would like. He was a big fan of mainstream country, and Columbia House had given him a free copy. On first listen I thought the band was copying the tried and true Americana formula, sounding very much like Uncle Tupelo with a greater southern flair. I thought they were just another in a long line of Tweedy and Farrar copycats, writing songs about their working-class roots and love of alcohol. The record just didn't speak to me. I filed it away with my other CDs, never expecting to return. I'm sure I went back to Uncle Tupelo, Son Volt, Whiskeytown, and other similar bands for my rootsy needs. I was late to the party on Steve Earle as well.             A few years later, A Blessing and A Curse came out and I bought it. Stonesy and more rocking t

269. Fish Tank (2009), Andrea Arnold, Curzon Artificial Eye 270. The Hurt Locker (2008), Kathryn Bigelow, Summit 271. Dune (1984), David Lynch, Universal 272. My Big Fat Greek Wedding (2002), Joel Zwick, IFC 273. Rope (1948), Alfred Hitchcock, Warner Bros. 274. The Birds (1963), Alfred Hitchcock, Universal 275. Feet First (1930), Clyde Bruckman, Paramount 276. Documenteur: An Emotion Picture (1981), Agnes Varda, DPI 277. The Baron of Arizona (1950), Samuel Fuller, Lippert 278. Mr. Freedom (1968), William Klein, Grove Press

The Greenberry Woods is a power pop band that I almost missed because I disliked them when I heard them on a Huh compilation in the 90s. Years later, I returned to them once I realized how much I loved their album Big Money Item . The band writes catchy songs and follows familiar formulas, yet their songs have surprising staying power. "I Knew You Would" is a lost gem, capturing what they do best. Raspberries-esque guitar passages and sweet, harmony vocals capture a timeless era in pop music. Check it out. https://play.spotify.com/track/7vJtcm8Y7PEhDhw0WaqcHT?play=true&utm_source=open&utm_medium=signup-test&utm_campaign=link

259. Bulldog Drummond's Revenge (1937), Louis King, Paramount 260. Twin Peaks: Fire Walk With Me (1992), David Lynch, New Line Cinema 261. Crash (2004), Paul Haggis, Lionsgate 262. Marilyn Hotchkiss' Ballroom Dancing and Charm School (2005), Randall Miller, Samuel Goldwyn 263. A Walk in the Woods (2015), Ken Kwapis, Broad Green 264. Paris, Texas (1984), Wim Wenders, Argos 265. Eraserhead (1977), David Lynch, Libra 266. Powwow Highway (1989), Jonathan Wacks, Anchor Bay 267. The Man Who Tread on the Tiger's Tail (1945), Akira Kurosawa, Toho 268. Mikey and Nicky (1976), Elaine May, Paramount

249. Manhattan (1979), Woody Allen, United Artists 250. Straight To Hell (1987), Alex Cox, Island Pictures 251. The Return of Bulldog Drummond (1934), Walter Summers, Wardour 252. Welcome Danger (1929), Clyde Bruckman and Malcolm St. Clair (Unc.), Paramount 253. A Short Film About Killing (1988), Krzysztof Kieślowski, Film Polski 254. Young and Innocent (1937), Alfred Hitchcock, Gaumont 255. Shoot the Piano Player (1960), François Truffaut,  Les Films du Carrosse 256. On Dangerous Ground (1951), Nicholas Ray, RKO 257. That Touch of Mink (1962), Delbert Mann, Universal 258. They Drive By Night (1940), Raoul Walsh, Warner Bros.