Okay okay okay, Vudu has proved himself wrong without me even replying, so I feel no need to say this:
Can we for a minute back off of The Aviator? Great entertainment, zero substance. Gangs of New York has an excellent, absolutely excellent set up and a good ending, but the race-riot climax was a serious pace-halting misstep. Bringing out the Dead, as anyone who has seen it can tell you, is a masterpiece and among Scorsese's best three films. Other good Scorsese: Casino, Taxi Driver, Last Temptation of Christ. None of these films are perfection, but they are great cinema. Above average Scorsese: King of Comedy, Kundun, Goodfellas, and Raging Bull (yeah, some people love it but it has awful improvisation by Joe Pesci that ruins the film for me). Should we really applaud a director who made personal rough-edged cinema in the 70s, some good, interesting movies in the 80s-90s, and fluff in the modern era?
Soderbergh on the other hand has conquered cinema with only a handful of great films. Traffic alone is among the best films ever made, and Solaris is its equal in sheer power. His other films are either great or have a lot of substance (including Full Frontal, excepting Ocean's 12). He understands movies in and out - he can make an emotional film like Erin Brockovich but switch gears for the highly intellectual meta-comedy Full Frontal. Out of Sight is a 70s crime flick through and through, and Schizopolis is cinematic free-association. How can we not respect this man?
Chinatown is based on the era of film noir, films that were often nihilistic and dark. See Double Indemnity, Sunset Boulevard, The Big Sleep, The Killing, Touch of Evil, all had dark endings, most of them featured the anti-hero being destroyed or evil going unpunished. Chinatown is the logical extension of that, and other neo-noirs recreate it as well: The Man Who Wasn't There, for instance. Disrespecting the ending is misunderstanding the ending. Chinatown as a "city" represented the dark underbelly of humanity, an evil that cannot be destroyed and lives in all of us. Chinatown was a metaphor and as such didn't need to have correlation to the plot.