Snobbin: Beautiful Trash in the Pop Culture Gutter

349. Fearless (2006), Ronny Yu, Rogue 350. The Cat's-Paw (1934), Sam Taylor, Fox Film Corporation 351. The Plumber (1979), Peter Weir, CEL 352. Rollerball (1975), Norman Jewison, United Artists 353. A Film Unfinished (2010), Yael Hersonski, Oscilloscope 354. Fat Girl (2001), Catherine Breillat, Canal 355. The Apartment (1960), Billy Wilder, United Artists 356. Jules and Jim (1962),  François Truffaut, Cinedis 357. A Woman of Paris: A Drama of Fate (1923), Charlie Chaplin, United Artists 358. A King in New York (1957), Charlie Chaplin, Attica

The final three songs focus on the plane ride and subsequent crash of both bands: the fictional one and Lynyrd Skynyrd. Cooley's “Shut Up and Get on the Plane” is a premonition of what is to come, as well as an excoriation of those that fear life and do not want to live it to its fullest. He sings, “We've been this close to death before; we were just too drunk to know it / Guess the price of being sobers being scared out of your mind.” Cooley dares listeners to get on the plane because death is inevitable and there is no use in complaining. The adventure the band is on trumps all. Even though the narrator would like to go home and lay around, he is a working man and needs to keep on moving. This theme continues through Cooley's songs; they revolve around men of action who move through less specific worlds. They carry on because they have to, despite the odds, not concerned with the specifics of history, but moving through a more generalized world. He writes songs for...

339. Goon: The Last of the Enforcers (2017), Jay Baruchel, Entertainment One 340. The Stunt Man (1980), Richard Rush, 20th Century Fox 341. The Night Porter (1974), Liliana Cavani, Avco Embassy 342. Escort Girl (1941), Edward E. Kaye 343. Test Tube Babies (1948), W. Merle Connell, Screen Classics 344. The Curse of the Cat People (1944), Robert Wise and Gunther von Fritsch, RKO 345. The Witch (2015), Robert Eggers, A24 346. Shock (1977), Mario Bava, Titanus 347. Cronos (1993, Guillermo del Toro, Prime 348. Bigger Than Life (1956), Nicholas Ray, 20th Century Fox

329. Chafed Elbows (1966), Robert Downey Sr., Impact 330. Bed and Board (1970), Francois Truffaut, Columbia 331. I Married A Witch (1942), Rene Clair, Paramount 332. Monsieur Verdoux (1947), Charlie Chaplin, United Artists 333. Limelight (1952), Charlie Chaplin, United Artists 334. Dog Soldiers (2002), Neil Marshall, Pathe 335. Beetlejuice (1988), Tim Burton, Warner Bros. 336. The Spirit of the Beehive (1973), Victor Erice, Bocaccio 337. Repulsion (1965), Roman Polanski, Compton 338. The Skin I Live In (2011), Pedro Almodóvar, Warners Espana

 319. The Living Skeleton (1968), Hiroshi Matsuno, Shochiku 320. In the Realm of the Senses (1976), Nagisa Oshima, Argos 321. Withnail and I (1987), Bruce Robinson, Cineplex Odeon 322. The Horse's Mouth (1958), Ronald Neame, General Film 323. W.R.: The Mysteries of the Organism (1971), Dušan Makavejev 324. I am Curious (Yellow), Vilgot Sjöman, Grove Press 325. The Blues Accordin' to Lightnin' Hopkins (1970), Les Blank 326. Bulldog Drummond Comes Back (1937), Louis King, Paramount 327. The Naked City (1948), Jules Dassin, Universal 328. Born in Flames (1983), Lizzie Borden, First Run

" One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. This philosophy fitted on to my early adult life, when I saw the improbable, the implausible, often the  'impossible,' come true.”  -F. Scott Fitzgerald, The Crack-Up , 1945 I should be working on many different things, including applications, revisions, and grading student papers. Yet I find myself at a cross roads, torn between doing the things I love and trying to keep food on the table. I struggle at being an academic, a teacher, a citizen of this mess of a country, while working sixteen hour days. I feel disappointed and broken if I take time to watch a movie or listen to a record. The mounting stress and anxiety bleeds into my work, etching my writing and my scholarship indelibly until the two become inseparable, a misshapen hulk of a thing, trending between monster, art, and commerce. I know that this will someday end at the inquisition or the tenur...

309. The Decline of Western Civilization III (1998), Penelope Spheeris, Spheeris Films 310. Throne of Blood (1957), Akira Kurosawa, Toho 311. The Postman Always Rings Twice (1946). Tay Garnett, MGM 312. The Hit (1984), Stephen Frears, Palace 313. The Slow Business of Going (2000), Athina Rachel Tsangari, Haos 314. Art School Confidential (2006), Terry Zwigoff, Sony Pictures Classics 315. Harlan County, USA (1976), Barbara Kopple, First Run Features 316. Interrabang (1969), Giuliano Biagetti, Salaria 317. On the Waterfront (1954), Elia Kazan, Columbia 318. The Leopard Man (1943), Jacques Tourneur, RKO