One of these weeks or months or years, the nominally hip crowd is going to wake up to Mistress America and realize it’s a knockout — fleet and motor-mouthed in a way that Howard Hawks used to dream about. And a nimble character-driven dramedy that keep shifting gears and re-loading and turning the wheel sharply. New Yorker essayist and film cardinal Richard Brody (a.k.a. “tinyfrontrow“) doesn’t need months or years — he gets it right now. His 8.24 piece about Noah Baumbach and Greta Gerwig‘s film, “Mistress America and the Art of Making A Living As An Artist,” is probably a little too dense and gymnastic and whirling-dervishy for a cheese-brain like myself but it’s probably the inspiring impression of this film that I’ve read since it played at Sundance last January. Boiled down, Brody is calling Mistress America an M3 — a masterwork of “entrepreneurial cinema,” a masterwork of “literary cinema” and a masterwork of “literary cinema in the other, qualitative sense: it isn’t merely about literature [but] a work of brilliant writing.” A review certainly worth reading, and a film definitely worth seeing if you’re still dragging your feet.