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In case you missed these pieces, The Film Snob*s Dictionary was the subject of some intriguing writeups in mid-March: a characteristically terse reviewette in Variety and an inordinately weighty think piece by Richard Schickel in the L.A. Times. Schickel’s article is flattering even as he resists falling in love with the book, yet puzzling in its desire to evaluate The Film Snob*s Dictionary as if it were some kind of scholarly tract by Jonathan Rosenbaum. As we’ve said in interviews, the opinions expressed within the book are genuine, but the book itself is, let’s face it, a novelty paperback. Next: Harold Bloom on Why Do Men Have Nipples? April 04, 2006 More Film Snobbery »
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AIP. Commonly used shorthand for American International Pictures, a crank-’em-out production company, founded in 1954, that was among the first institutions to be exalted as a font of Important Kitsch; as far back as 1979, AIP was the subject of an adoring retrospective at the Museum of Modern Art. Unabashedly chasing the whims of fickle teens, AIP’s mandate switched from Westerns (ROGER CORMAN’s Apache Woman) to “teen horror” (I Was a Teenage Werewolf) to Vincent Price’s “Poe” movies (House of Usher, The Pit and the Pendulum) to the Annette-and-Frankie “Beach Party” movies—though, in later years, AIP’s output skewed ever more exploitatively toward Grindhouse fare (e.g., PAM GRIER in Black Mama, White Mama). Kutcher exudes the bland hunkiness of a juvenile lead in an old AIP feature. Read more from the Film Snob's Dictionary » 
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