I don't know if I can really call it my favorite, but I've probably listened to "Came So Far for Beauty" more than any other Cohen song. Perfectly Gatsby-esque. And sparse and elemental enough that in a different day and age it could have made it into the Great American Songbook, and be endlessly covered.

To be fair, a quick google search shows all the booms belong to Pete Holmes 7 months ago.

Sadly, I don't think the American public will ever accept a cop with an Irish accent.

BOOM SUCKA!

It's a real flat circle jerk.

Let's not kid ourselves: it's Hartman's Sinatra.

Of "Two of Hearts" fame!

Interestingly, I always thought Interpol's guitars were more Verlaine-Lloyd than Sumner (okay, the bass is pure Hook).

"EYEBALL MAN! EYEBALL MAN! EYEBALL MAN!"

Not enough hyphens or colons.

Now I'm just trying to decide whether a whore fan would enjoy that film more or less?

Ha! I really hope someone caught that typo before I fixed it, because it was too perfect.

I once watched William Lustig's Maniac with my mom. She's a horror fan, so it could've gone over worse. But at the end, all I could say to capture both our awkwardness was: "that was bleak…"

He blows it in!

You fool! You could have watched Hercules by watching The Nutty Professor!

I fully admit I might be misremembering aspects of the film… but while it uses those devices, it never settles into a The Killers/Citizen Kane reconstruction thing. They're glimpses, not portraiture. It's clear that somehow someway Tierney has to walk back into the film, even before the reveal. The how might leave us…

The manuscript is supposedly already out there.

The film clearly stars Gene Tierney as Laura, and it's clearly not doing the whole flashback thing. You'd figure it out pretty quickly.

Laird Cregar? I just can't see it. Maybe if he slims down.

When you get down to it, there is no more appropriate response to a James Ellroy article then the sentiment above.