Finally, and belatedly, from the Everything's Relative Department: it says something about contemporary cinema that the recent reissue of a subpar Antonioni from the mid-Seventies -- The Passenger -- held more allure for me, in anticipation, than nine out of ten new and never-seen movies. And even though a second viewing revealed it hadn't improved with age, or with the addition of seven restored minutes of footage, it gratified me more as well. In a word, it's so much more composed. By which I don't (although I could) mean more cool and collected. I simply mean more compositional. Something so basic shouldn't be so rare.