An homage of sorts to Tchaikovsky's Swan Lake as exhibited by "A Swan Song (For Nina)", but the score is not without Mansell's touches. "Lose Yourself" is a steady thrill that leaves you feeling like you are being washed away and "Night of Terror" shall leave you sufficiently disturbed during your drive home from the theatre. Overall, it is not as memorable as his scores for Requiem for a Dream, The Fountain, or The Wrestler, but the score fits the film well.

White was at his most incensed when forced to sit down and type out his thoughts regarding Precious, but praised Norbit for its reflection of society, "Murphy’s gender/ethnic split embraces a sense of freakishness because Norbit, Rasputia and Mr. Wong are all, also, on a realistic continuum. We laugh at their types since we, in fact, recognize their types." The same loud, shrewish stereotype that Murray plays with glee is described with measured admiration. Said stereotypes used in Precious are a  "carnival of black degradation". His point could be made legitimate, but defending one tired set of characterizations in one film does not allow you to lead a crusade against a film guilty of the same flaw.

Hit-jobs against Maria Full of Grace, City of God, and 4 Months, 3 Weeks, and 2 Days  condemn these films for their "preachy, wrong-headed messages", but invites viewers to find meaning in the "misunderstood" I Now Pronounce You, Chuck and Larry.

The man is not a consumer of the cinematic equivalent of trite slush. His top ten of all-time list includes Lawrence of Arabia, Nashville and The Magnificent Ambersons. He is a vehement detester of online criticism, having been quoted as saying bloggers reek of "amateurism, gossip [and] cliques". Certainly an interesting sentiment from a man who writes reviews knowing in the back of his mind that his contrarian reactions will certainly elicit a response from the online community that he apparently despises, but needs their traffic to prop himself among the elites of film criticism.

He is certainly knowledgeable about his trade, he litters his posts with references to classics from yesteryear while honoring movies such as: Bedtime Stories, Little Man, and Running Scared. Maybe the man operates on an intellectual plane all his own - seemingly pulling depths from films ignored - or more likely he has crafted his niche in being the wild-card of the community wrecking havoc and name dropping whenever possible.

The truth is any man who does not care about art enough to simply write about film in an honest and upfront manner does not do any justice to the medium. In pretending to write in the tradition of Pauline Kael he offers nothing more substantive than the huckster in The Outlaw Josey Wales selling his elixir to anyone willing to listen. Screaming into the abyss Mr. White needs less our scorn and more our sympathy. He's an intellectual prancing around as a troll seeking approval from those he spends his time railing against. He's also an enemy to the profession he claims to hold the best interests of.