Unfortunately not.

Again, not defending the guy.

This kind of absolutism is what frightens me.

Do whatever you want to do.

I'm not saying that an artist's body of work doesn't provide important clues to his or her fixations and motivations; those details provide context and can be extremely helpful in gaining insight into what the artist is saying/doing.

Crypto conservatives, to quote Ignatiy Vishnevetsky. And that's right there in the movies too.

What are "site politics?"

That's not quite what I meant by "moral high ground."

And here's the problem with categorical statements.

Sure. But this isn't a black-and-white issue*.

Woah woah. Let's cool down for a minute and take a deep breath.

I've been saying this since the movie came out, but I feel like the bit with the rat is a callback to the ending of "Elevator to the Gallows."

something something crash your computer.

I flipped past this just yesterday while browsing at the record store.

Film Comment put together a nice little video essay on the movie's soundtrack last year.

That's what I meant by "ultimate De Palma movie." It's a near-perfect distillation of his obsessions and aesthetic—basically his version of a greatest-hits album. It almost makes the documentary redundant.

Oof

Wait. I thought we were (finally) in the De Palma reassessment phase.

"Snake Eyes" has an amphetamine-jolt that sets it apart from a lot of late-period De Palma.

It's a Brian De Palma movie.