Robert Kohler tweeted today that by mining into soul-narcotizing boredom in her latest film, Certain Women, Kelly Reichardt is doing roughly the same thing with nothingness that Michelangelo Antonioni did with L’Avventura. Or something like that. I know that he suggested that Sundance viewers who are putting her latest film down are doing the same thing that the know-nothings did when Antonioni’s film premiered in Cannes 55 years ago. Okay, but I’m telling you that Certain Women has none of that undercurrent that Antonioni tapped into, and I know Antonioni’s early to mid ’60s films backwards and forwards. I’m telling you Certain Women is a flatline experience. I’m telling you that to me it seemed boring and listless and repetitive. It even felt vaguely horrific when you consider that some people who live in rural Montana are pretty much stuck there — i.e., no escape plan. With every Eccles-playing film so far I’ve stayed for the q & a, but not with Certain Women. I bolted during the closing credits.