Aren’t Oscarbatory films like The Artist, Hugo, and Midnight in Paris the high brow equivalent of the Transformers, easing the viewer into the same warm nostalgia bath, just with the particulars adjusted to reflect a different audience’s adolescent fixations? Might they even be even more meretricious because they rely on the borrowed auras from the canonical works/figures they reference (Méliès rather than Mégatron) to activate feelings of barely-earned recognition, which somehow invokes in the audience the false spirit of learning, or at very least, the smug satisfaction of the pub trivia warrior?

I mean, I feel this way about ‘em so that’s why I haven’t seen ‘em. I could be wrong!

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   No one is right all the time, least of all you two. I haven’t seen like 90% of the nominated films, but Midnight in...

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   Todd is right about everything. I saw one of the three, Midnight in Paris, and while I thought it cute, it is a smug...

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