Does Geir's musical philosophy remind you of John Simon's film criticism?

with john simon, i neither like the films that he likes nor do i like his overarching theory.

I will admit that I like some things he does (especially "Seven Beauties," possibly his best piece of criticism, though only if you like the film--which many don't). But he just tends to nitpick to extremes and find things stupid, ugly, pointless without--sometimes it seems--really considering them in any context but the restricted view he's held to forever.

Any guy who has shat on every single movie Scorsese's made (or almost all, don't think I've read him on every one) probably isn't going to be trusted by a lot of people. Plus he basically wrote off "The Godfather" and "Part II" as simplistic mafia dramas with little to recommend. Most people seem to despise the guy because though he claims to be trying to learn from movies and find things to make the viewer interested. Ultimately if a film wasn't foreign he wasn't gonna say that much for it, and he loved to pick on (and probably disagree) with other critics unless they were similar to him.

I just think the somewhat narrow and totally non-mainstream style he's used for decades in some ways reminds me of Geir, though the connections are difficult to make from film to music.

Simon actually really enjoyed "Goodfellas," calling it the best mainstream Hollywood film in so long he couldn't recall the previous best.

Simon is like Geir in the sense they're both wildly contrarian and dismissive of many currently fashionable works of entertainment and art - really to the point of upsetting people greatly.

Best Simon reviews: the aforementioned Performance, Manhattan (actually read his review for any Woody Allen movie), all of the films from the canon that he gave mixed to bad reviews for including Godfather, Shawshank, 2001, Taxi Driver, Blue Velvet.

And last, but certainly not least, read his review for the Spy Who Loved Me, where he provides cursory attention to the plot and performances before he spends at least two paragraphs complaining about the fact that, in an attempt to secure a PG, Barbara Bach is not naked in the film.

I've only read his review of Performance. But few of the films/directors above push my buttons so he sounds he could be of some value.

Simon hates Godard and loves Bergman. I use that as a sort of key to understand where he's coming from.

Sometimes his critiques of actresses' physiques - for what they're worth - strike me as incoherent or even incorrect.