Tender Mercies

A famous country & western singer who's been idle for several years, finds himself broke in an unknown hotel one sobering scant perplexing morning (Robert Duvall as Mr. Sledge).

Fortunately goodwill blossoms and he's offered a job taking care of the property, food and lodging worked into his cheque, it's not the greatest but it seems trusted stable.

As things become familiar, the owner takes a shine to his polite down home reckoning, and he responds with amorous accommodation the two soon marrying each for the second time.

Mr. Sledge has trouble with alcohol and solemnly recognizes he needs to steer clear, but sometimes it isn't as easy as just watching TV off the beaten track night after routine night.

He may have given it up but he once travelled from town to town, and had a solid reputation for endearing songwriting which earned quite the living far and wide.

A young group of struggling musicians discover his whereabouts and come a' callin', he's certainly not interested at first but slowly relaxes and responds obligingly. 

Will he be able to reforge a bond with the estranged daughter he hasn't seen in years (Ellen Barkin as Sue Anne)?

While learning to write songs once again?

And settling in with his new family?

Mild-mannered tame observation calmly generating commitment age old, convalescence coordinating calibrations reanimated rutabaga rapture.

The perfect recipe to get-back-at-it no immediate pressure no media exposure, just tranquil peace at play within inquisitive familial fulcrums.

The glitz and glamour while lucrative and shocking perhaps abounding with eclectic reliability, may detach creative peeps at times, from the habitual contemplation that led to so many of their hits.

With so many different people creating in different ways it's by no means a rule, but I love how The Rolling Stones created their best stuff on the run from the law in the French countryside.

Cities are fun since there's so much variability dependably mutating and chaotically harmonizing.

But there's still novelty in the countryside deep down, if you sit back and listen to the offbeat proclamations.

Not the ones that cross the line but that hasn't happened much in my experience.

It's a unique world abounding with novelty.

What's available, not what you can't buy. 

Far & Away

An industrious lad mourns the passing of his father only to have insult added to injury (Tom Cruise as Joseph Donnelly), as the landowner's bellicose representatives proceed to appropriate his property.

Unaccustomed to blunt disparity he takes the law into his own hands, and sets forth in perilous search of the oblivious aristocrat in question (Robert Prosky as Daniel Christie). 

Yet he's discovered asleep in the barn one scandalous inopportune strict morning, the estate owner's daughter having cleverly detected and proceeded to relieve him of his balance (Nicole Kidman as Shannon Christie). 

Nevertheless, he's soon challenged to duel where that very same lass comes uproariously rising, and leads him away in fact to a ship bound for North America.

The two make an awkward glib pairing as the fashionable lady must learn to work, while Joseph excels in the world of prize fighting and graciously teaches her how to make an honest living.

Pride diabolically emerges however and the honourable Donnelly soon loses his head.

Banned from ever boxing again within Boston.

They struggle to find food and shelter.

While watching Ron Howard's Far & Away I was reminded of realist ambitions, and the ways in which many artists in my youth delicately strove for historical accuracy.

Thus we see actual clothes being washed long before washing machines were invented, and near the end sundry wagons and horses vigorously line up to compete for Oklahoman land.

Class and privilege also haughtily fade as the levelling tides of prosperity mingle, the old world manifesting itself anew, while raw opportunity seeks its annulment. 

In terms of lending old and new world preponderances in a thrilling narrative equipped with romantic candour, Far & Away imaginatively and mischievously excels and makes me wonder why more hasn't been made of it.

Even before the Mission Impossible days Tom Cruise still cut his teeth as a prominent boxer, in conscientious drama wherein elfin which age old pluck and tenacity applauded.

Nicole Kidman also prospers as the stern maiden creatively and reflectively improvising, learning to follow her thoughtful instinct in a land much less prone to ancient pride.

Imagine Jane Austen was more of a rebel and took to the seas with Ernest Hemingway. 

Classic integral Ron Howard. 

Co-starring the daring Colm Meaney (Mr. Kelly).

Enigma

You wonder how many billions are wasted every year spying on other countries, without producing many results, imagine there was more of a consensus to productively get along, and those billions could be spent on jazz music and preponderant culture.

Were things much more worse off during the obsessed and stealthy brutal Cold War?

Or is there even more multilateral distrust cloaking international relations these days?

Hopefully not, a rather distressing subject such a shame it still persists, banal compulsions to preen and promulgate through listless superlative desire.

Enigma takes place during the Cold War in ye olde locked down strict East Germany, wherein which a covert operative seeks a coveted code scrambler.

The scrambler will theoretically give the West unlimited access to Soviet communications, and help them foil a pressing plot to murder 5 outspoken troublesome dissidents. 

Alex Holbeck (Martin Sheen) can hide in plain sight and has the luxury of remaining anonymous, even as his radio show consistently lambasted censure within the Iron Curtain, agents were never able to identify him, which left him somewhat of a free hand.

He has several contacts in East Germany to provide aid during his hour of need, but Russia has learned of his infiltration and sent their best man to intercept him (Sam Neill as Dimitri Vasilikov). 

A clever clandestine tale multilaterally results, resolute bravery and headstrong conviction guiding initiatives on either side.

Does the cultivation of novelty continuously have to adapt to fads and forums, do goodwill and peace not ethically transcend the cheeky impetus to shake things up?

Shouldn't resource provision and modest comfort not lead the way, with quality goods at affordable prices reasonably presented with dignified poise?

I suppose if trillions weren't spent every year on spying and the military you'd have to find something else for those people to do, notably the ones who weren't good enough to play football yet still sought volatile means at their disposal.

In the interests of taste, it would likely be a disaster if millions of them started to play the guitar, and endless songs about discipline and loyalty interminably bombarded television and the internet.

But I can sacrifice good taste if it means the curation of world peace.

What a strange world in which we live.

The animals couldn't think less of us. 

Threshold

Sure and steady patience and vigilance delicately guide a medical research team, as the leading American Heart Surgeon (Donald Sutherland as Dr. Thomas Vrain) searches for ways to save essential lives.

Not just in the United States but research teams engage proactively worldwide, and freely share their incredible findings with the goal of encouraging international comprehension.

It's cool to remember the public impetus to forge consensus in complex situations, and look for solutions to intricate problems far beyond one's trusted jurisdiction.

The ways in which scientists and various researchers constructively collaborate to solve compelling mysteries, in the interest of humanity gathered from Buenos Aires to Addis Ababa to Perth, Australia. 

Collective goals peacefully coinciding with affordable applications of the ingenious discoveries, so if someone gets sick they don't break the bank trying to recover from their pressing illness.

Such a blueprint seemed progressively paramount in the hopeful spirit of the '80s and '90s, and no doubt still efficiently elucidates, I just don't hear about it as often.

In Threshold (1981) it efficiently functions as Dr. Vrain attempts to save patients with troubling heart defects, heart transplants still in incipient stages, dedicated teams working on artificial alternatives.

He hires the romantic Dr. Aldo Gehring (Jeff Goldblum) to join his understaffed yet versatile team, and they create a brilliant short-term replacement for the old tactile ticker that keeps brazenly beating.

It must have seemed like an impossibility it still does to this day how is such a thing possible?, but then again how is the natural version capable of prolonged existence as it persistently pulsates every second of every day?

With all the talk about artificial intelligence and the theoretical worlds where cyborgs flourish (The Matrix etc.), it makes me wary that horrifying experiments will be secretly conducted to create cyborg brains.

The brain is indubitably organic, computers exalting metallic technology, how can they seamlessly function in unison, especially when so little is known about the brain, and its extraordinarily complex intricacies?

Beware enticing lucrative cash payouts which promise enormous sums if you participate in a study, hopefully the more scrupulous scientists remain vigilant and don't asks tens of thousands to give up their lives for cyborg research which may lead to nothing.

The body may be more robotic but how do we organically catalogue the mind?

The price is too high in my opinion.

The ends do not justify the means. 

Oliver & Company

Suddenly left on the side of the road in a box with several brothers and sisters, a young kitten struggles to comprehend the pressing misfortune closing in all around him (Joey Lawrence as Oliver). 

As fate would have it, he's left on his own, to swiftly intuit sundry sights and sounds, a lone dog taking note of his predicament, then enlisting his aid in an inspired heist.

Said heist proves rather successful but the trusting kitting is denied his fair share, the happenstance hound heading back to his troop to generously provide them with nutritious booty.

The kitty follows at dangerous speeds through perilous traffic and irate exclamations, fortunately locating the harangue hideaway before awkwardly crash-landing in the midst of the feast.

The startled pack isn't intently critical and in fact takes a shine to the curious kitten, freely rewarding his innate courage and granting him space to relax and unwind.

Everything isn't as harmless as it seems there's indeed diabolical parlay outstanding, their owner Fagin (Dom DeLuise) heavily indebted to one Mr. Sykes (Robert Loggia) who calls in the loan.

Desperate to pay back the money with no tactile means at his hapless disposal, volatile elaborate reckoning soon wildly instigates beguiling fathoms. 

Still inherently cute and cuddly even if mature themes at times disgruntle, the latent injustice picturesquely pronounced by the undeniably acute adorability.

Age old class tension gives way to reason as unintentional cruelty morosely erupts, the tender heart naturally accommodating free-flowing wonder and innocent guild. 

Fagin's somewhat different in this version which loosely sticks to the lithe Dickens classic, even though he's overtly destitute his homegrown caring spirit still radiates wealth.

I don't know much about money and I'm certainly no financial advisor, I do know that people who spend more than I do tend to seem like they're having more fun.

I've often felt like I've missed out because I never took a trip to Paris on Visa, I'm glad I don't have the debt, but still wish I had the eclectic memories. 

I'd advise caution when borrowing money and doing the math before taking a loan, if math's not your thing ask someone you trust for help, interest adds up quickly in lopsided circumstances.

Disney takes a hard look at urban life in this one as animation captures fast paced discretion, friendship and upstanding dependable camaraderie agilely lighting the industrious fore.

Be careful when taking on debt but make sure not to ignore the versatile human factor.

How many ways has it been said?

Some day I'm going to the SPCA.

Science is Fiction: 23 Films by Jean Painlevé

Long before David Attenborough started creating amazing nature documentaries, other visionary pioneering filmmakers set the cerebral stage, some not as fascinated by the more famous untamed beasties, like Jean Painlevé and Geneviève Hamon, who explored unheralded marine life for years.

They set their sights on the limitless sea and created a series of awe-inspiring films, creatively conjured and imaginatively nuanced in this chill and humorous compilation.

Instinctively driven by the unknown creatures whose otherworldly existence salutes biodiversity, they follow the lives of some of the most unique wild animals I've ever seen.

With instructive goals in mind and a desire to encourage aquatic acclimatization, to make one think of the billions of lives which exist beneath the waves while gazing outwards.

Indeed, parts of the ocean are rather similar to the sprawling concrete labyrinths we've come to know as cities, their complex interactive interconnected citizens having steadily evolved for resonant ages. 

I don't know what the turnover rate is for squirrel families on land in local forests, but the coolest thought is that the same squirrel fams have scamperingly existed in the same local woodland for thousands of generations (especially in areas with little to no human contact). 

That's why threats to endangered species acts are so shockingly foolish and cruel, the ways in which they ignore the millions of years these creatures have matured and developed alongside us.

They deserve to be left some space to roam as they freely have since they took formal shape, who are we to mess with the existence of outstanding miracles and flourishing distinction?

Painlevé and Hamon capture such life in its multivariable enriching abundance, and like poets unconcerned with fads they tenderly present the enticing unexpected.

I find with the plethora of contemporary nature documentaries illustriously abounding with fluent synergies, many of them don't lose sight of this focus and still present newfound insects etc.

Thus, in a program at times fiercely focused on lions and cheetahs, there's a pause in the imposing narrative to examine a bug or a bird or a rodent.

Like science-fiction and fantasy nature documentaries have changed remarkably since I was a wee lad.

With thanks to filmmakers like Painlevé and Hamon.

Who thought no doubt this is cool?

Ban octopus farms! 

🐙

Metropolitan

The allures of cerebral sophistication uncertainly engaged in gallant experiment, solemn yet tenderly familiar rhapsodic intrigue unembellished rapport.

Consistency generating parlay through meaningful harmonized inquisitive exchanges, perhaps forgotten perhaps foundational as various participants focus on detail.

An intricate eclectic forage producing novelty then kink then narrative, divergent degrees multivariably matriculating then suddenly retreating at times leaping forward.

The curious arrive impeccably intent on trying not to make too much of a mess of things, previous encounters traditionally manifesting subjective synergies objective illusion, new data eagerly incorporated to encourage sprightly dis/proportionate parentheses, emergent chronicles timidly testifying frenetic friendship ergo allegiance.

Provocative inklings invoking pause juxtaposed itinerancy serenading scandal, delicate proclivities enriching formulae ephemerally proclaimed with eternal fidelity.

The whirlwind continuously transforming ruminative stimuli with verbatim velocity, guests wildly windsurfing various trajectories with implicit inspired levity.

Be careful, that's a little bit country it may not fit with the paramount clout, no matter in due consideration to random versatile inclusive diversity.

Too many limits at times callously decomposing spontaneous free agile thought, not to embrace an abeyance of filters but neither to laud categorical dismissal.

It's like potential devotees of Proust who have in fact never even considered reading him, instinctually attempted to develop a salon in their quizzical youth with literary bearing.

What blossoms in In Search of Lost Time can be found germinating in Metropolitan, as several young adults gather in Manhattan to stylistically temper strike and ceremony.

Thoughts inevitably stray to the future wherein which imaginative blooms poll and posture.

Statistical reckoning fouling things up.

Best of friends.

Abstract associations. 

Captain America

The President of the United States plans to ecologically prognosticate, by organizing a conference with manifold countries with the goal of banning single use plastics.

But sinister disputative rivals seek the consistency of the status quo, and plan to secretly abduct him and create a surrogate they can control.

Unfortunately, conference security lacks resolute stalwart efficacy, and their plan works with unencumbered ease, U.S. security forces unable to find him thereinafter, the world not erupting with chaotic bewilderment. 

As chance would have it, around the same time, Captain America (Matt Salinger) is found frozen in ice, from which he escapes as it's encouraged to thaw, and then departs for Northern Canada.

50 years have past since he directly challenged Nazi scum, the world having changed remarkably in the democratic intervening years.

He heads out to visit his former love interest who waited for over a decade for him to return, but eventually settled and had a family embracing traditional communal concerns.

The same forces seeking to replace the President with their own despotic pestiferous double, soon find her trusted location and bellicosely proceed to express discontent.

Captain America must avenge them and save the President simultaneously.

Even if he doesn't know his way around (the globe).

And has no vast multivariable network.

It's sad to historically note that many sought the ban of single use plastics long ago, and while we've managed to ban such bags in Canada and Québec, the colossal profusion of said receptacles still abounds.

This old school Captain America rapscallionly radiates coruscating camp, with an heuristic experimental impetus diagnostically deconstructed with improvised invention.

Pioneering nevertheless the same general schematics alternatively applied, something to see for devoted fans which led to multiple meritorious mutations in the narrative.

It's a lot of fun to watch if you like camp with proactive nerve.

Co-starring ye olde Ned Beatty (Sam Kolawetz).

The fantastic blueprints.

In primordial form.

Melvin and Howard

Bewildering serendipitous authenticity remains a curious cultural phenomenon, as applied to stratified stereoscopic intersections which theoretically shouldn't muck everything up.

The level-playing field aside, I suppose if an important highly coveted legal document appears out of the blue, and the individual in related question hardly knew its eccentric author, whether or not it is indeed genuine becomes a pressing question, certainly if one man was worth hundreds of millions and the other struggling to get by.

But could it not be more sincerely American that a billionaire would leave millions to someone he hardly knew, due to the poetic nature of the declaration of independence in which every man (and woman) is created equal?

Thus, is that one random encounter which seems to have been divinely orchestrated, wherein which ignorance leads to conviviality and a general lack of uptight pretension, more valuable than a lifetime of stilted sycophancy as applied to thriving life, the retiring uncanny person in question desperately in search of lauded novelty?

Sounds classically American to me at least according to the films and television shows I used to watch, which seemed to cohesively suggest brother and sisterhood were warmly welcome.

When you consider that if Melvin (Paul Le Mat) had received such news in Britain he would have been swiftly and shockingly shot down, for having had the nerve to claim vigorous industry even though he lacked tact or title, it makes his lack of success in the states all the more depressing even if his attitude is honest and realistic, who knows, perhaps I'm way off base and such a development would have found more support 'cross the pond.

I suppose it depends on how various forces are aligned and how those alignments mutate as the phenomenon progresses, various alternative symphonic synergies culturally clashing ethically and politically. 

Consistent outcomes at times disillusioning still outmanoeuvred by integral hope.

Fatalistic reasoning's rather off-putting.

And generally contradicted through proactive study.