Brooklyn

The down home, the perspicacious, the loving, the transformative, a new life in Brooklyn awaits modest Eilis (Saoirse Ronan) as she leaves her hometown in Ireland in search of difference abroad, job prospects and alternative acquaintances expanding her conscientious integrity, homesickness and tedium challenging her burgeoning resolve.

It's a feel good tale, moving along at a brisk pace, Eilis's self-sacrifices endearing her to those she meets, who respond by opening doors which she resoundingly walks through.

There's character development but it's sparse and fixated, every aspect of the script calculated to polish stock responses, the polish heartwarmingly uplifting and consistent nevertheless, as every chance interaction collocates constitutional blooms.

A straight shooter, consummately conflicted when she returns home for a funeral, an idyllic pastoral future suddenly materializing, chanting out between worlds, delicately torn asunder.

If Brooklyn's momentum had occasionally paused, swayed, reflected, something more profound could have perhaps been stated, a visceral dimension arising from the resultant contemplations, a judicious milky way transcendentalizing urban and rural.

It's not concerned with such interstellar abstractions however, and competently accomplishes what it sets out to do, a straightforward yet enticing examination of goodwill, restricted yet nimble, acquiesced to trouble making.

This style of filmmaking makes the accomplishment of hard fought goals seem far too easy by reducing devastating complexities to a collection of brief highly saturated moonbeams.

Still, it's nice to see positive films that mildly if not naively celebrate change in flux.

Like roses or a box of chocolates.

Maple syrup.

Caramel.