Although you'll miss the excitement of the films opening, the energy of the crowd, the seeing-it-before-someone-(un)knowingly-ruins-it-for-you—that is to say, the one-time event of the films released, the one part of the film that cannot be replicated or duplicated (but does point out an interesting thought experiment: could you actually stage a first-time release of The Dark Knight, say, ten years from now--dress everyone in contemporary costumes, etc etc, and get a similar effect? or would it simply be a second and entirely separate one-time event masquerades as another?), the event you feel compelled to attend semi-simultaneously with millions of people around the country by your side, to feel that special something . . . although you would miss all of this, you would be avoiding a variety of potential pains by skipping out on The Dark Knight this weekend: of fighting crowds: of only being able to find a seat at the far side or the front of the theater: of not getting to see it in Imax before seeing the standard release; of not waiting in line. All of these are, as i’ve hinted at, part of involving yourself in the spectacle of movie consumption. But still . . .

What I'm saying is: this is an excellent time to find out if you actually like, or actually very much dislike French New-wave filmmaker Jean-Luc Godard. The Aero Theater in Santa Monica is offering a series of double features later this week and into the next, featuring nothing but Godard films of the 1960's:

Fri, July 18 - Breathless & A Woman is a Woman

Sat, July 19 - Pierrot Le Fou & Masculine Feminine

Sun, July 20 - Alphaville & La Chinoise

Wed, July 23 - Two or Three Things I Know About Her & Band of Outsiders

At times heavily and excessively lauded, and at times deeply disgruntling and overly-cute or clever, Godard films are usually worth watching. Especially in theaters. The mix of films the Aero will be showing are especially influenced by Godard's Marxist sensibilities, and reflect political currents of the far Left; which is great, but at times so bald and flat to their point as to be unappealing; which may be the point; but which you still may not like; but your opinion may be forever suspended; and you may find yourself chafing on your inability to decide if you like it or not; but then maybe you decide you like the bald and unappealing aspects of the film, and don't mind it when Godard seems like he's just being difficult--and that inner dialogue can go on and on. But generally Godard always makes films with persuasive and seductive characters, films which espouse a very exciting and youthful sensibility, and which may end up making you feel a little bourgeois and stupid, especially because of the fact that you're reading this article and watching a Godard film. That said, the self-reflexive aspects to his work are probably the most palpable and fun.

And I suppose this is a good time to mention that the title of this article is a little misleading--avoid making a choice between then, and leave excuses for the weak minded: just go see The Dark Knight, as well as all of the Godard films.