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We have a peed-on body, a gay detective, not quite as cool as Dafoe in 'Boondock Saints.' But the dialog is so cool, each word sharpened, with characters correcting each other's words. Detectives, and a pretend actor playing a pretend detective as our thrice-removed noir narrator who forgets details and lapses into selfreferential monologues. Its the language of Hollywood unleashed to eat a movie in bits, even while getting their appetite from the wholeness and perfection of the uneaten thing. This is fun, but it isn't what the press calls a spoof, or any of the nuances they like along those lines, lines designed to support one or the other of those monetary channels. The cleverest element here is that all the advanced ideas from the inner 'intelligent scriptwriters coven' (ISC, a sort of Skull and Bones) are mutated to funny slants on the cinematic vocabulary. All the images are drawn from the popular vocabulary, but all the flows are out of bounds for popular movies. Too bad in a way, because when we encounter something like this, it falls between categories. But we accept it and apply different criteria. Its an artificial division that exists only because of the accidents of market forces that channel money down the different pipelines.

And there are others I enter as part of lucid living, what are usually called 'art' films. For me, there are movies that are 'just' movies, things I enter for fun.

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