City of Hope

It's difficult to rationally consider the various levels of corruption guiding commerce and politics, as proactively delineated by so many commentators throughout the observant course of a vigilant day.

In a two to three/four/five/six party political system the argumentative opponents spend so much time accusing their rivals of corruption, at times the party that seems the lease corrupt emerging victorious how do you lead such a populace retroactively?

In Claudius the God the Emperor Claudius runs into sincere difficulties, not because his colleagues are particularly corrupt but because he is rather just and innocent.

Having spent most of his life observing the government in fluidic motion, even though he had always been judged too dim-witted to actively take part, he survived plot after plot after plot through reasonable supposition and a complete lack of envy.

But his goal was to do away with Emperors and re-establish what was known as the Republic, a form of government less reliant on absolutism and much more democratic and fair and reasonable.

Nevertheless, since, as Emperor, he governs as honestly as he can and indeed turns out to be a trustworthy administrator, the people stop loathing the idea of Emperors as they had under Tiberius and Caligula, and stop imagining a return of the Republic.

To remind them of their folly he hatches one of his most poorly thought out schemes.

The Republic doesn't return.

And his son is murdered.

But films aren't as detailed as books or mini-series, it's difficult to convincingly relate stories of political corruption in less than 3 hours, there are so many personalities from different walks of life to be provocatively considered as the narrative progresses.

Love and family will likely even factor into the manifold intricacies as they passionately fluctuate, but who falls in love and what consequent jealousies effectively motivate resulting dire complications?

It's too much for a lot of filmmakers but always respected if bravely undertaken, John Sayles succeeding with City of Hope more than most as the multivariable tale examines multi-layered corruption.

Multiple storylines complement within as sundry characters seek balance and decorum, or just ride the chaotic whirlwind with as much distinction as they can freely muster.

The image for the inherent madness materially erupting as people search for meaning, is distressingly manifested by a local schizophrenic after a powerful contractor's son is shot by his new girlfriend's jealous cop ex-husband, and he calls out into the street for help, and no one else is listening.

The disturbed man returns his plea with sympathetic non-sensical enigmatic cries.

Not the most constructive image to end on.

But one that does make sense a lot of the time.

Chan is Missing

Please forgive me if this film already has a large following and is widely cherished by many, I had just never heard of it before last week and was pleasantly surprised to see how good it is.

I thought it would make a solid Criterion so I checked to see if it was already in the collection, and even though I didn't find it in my initial search, that doesn't mean it won't make it some day.

Like Donald Sutherland's career, Chan is Missing is chill and flexible, consistently surprising with unexpected scenes, overflowing with creative dialogue regarding enigmatic subjects, Sutherland often added that eccentric touch to a mainstream flick that may have otherwise lacked variability. 

Take the sudden introduction of academic flair as a potential graduate student examines an interaction, between a policeperson of European descent and an aggrieved member of New York's Chinese community.

They're arguing about mundane mechanics and she investigates the dialogue with brilliant cultural awareness, lucidly comprehending both agile traditions with thoughts reminiscent of postmodern detectives. 

It passes quickly in the film it's just a touch of brilliance characteristically blended in, it could have easily been left out but its inclusion functions like an ingenious bay leaf.

I've read the controversy about the bay leaf online, does it actually add anything to the flavour?, while transporting its mythos to the realm of independent film I'd have to say that in this instance it most certainly does.

Chan is Missing is almost like film noir but it lacks some of the more sinister narrative elements, although overlooking compelling works of art such as this film is historically sinister and culturally destructive.

It isn't serious in a strict sense 😝 nor does it get carried away with its eclective lackadaisics, it's more like a remarkably clever production team applied incisive wit to a multilayered vortex (directed by Wayne Wang, written by Wang and Isaac Cronin). 

I'm really surprised by Marc Hayashi I don't recall ever having seen him in anything before, never as the leading man on his own cheeky sitcom, or as a recurring character actor like Earl Boen just showing up everywhere (he's good).

Chan is Missing is a solid Asian-American film that explicitly demonstrates laudable genius, and may have been overlooked because frankly if you're not looking for it, it's rare to ever see anything written and directed independently by Asian-Americans in North America.

I imagine the market's there and it could use more promotion in diversified fields. 

Perhaps it's already found them and unfortunately I'm just not familiar.

Nice that it's lacking swords and mysticism.

*In Canada there was a show called Kim's Convenience that was on for a while so it must have built quite the audience.

**I remember an Asian-American sitcom coming out in the States years ago that was critiqued for overemphasizing stereotypical characteristics.

***I didn't think Chan is Missing was stereotypical. I thought there were just a lot of cool characters being themselves.  

****Love Lucy Liu (Elementary).  

Baraka

I never grow tired of watching nature documentaries or even those visually illuminating the city, Baraka thoughtfully depicting footage from around the globe with stunning piquant composed vibrant artistry.

It's easy to get caught up with your own active life or even that of your incumbent nation, while so many people from different jurisdictions engage in equally meaningful constructive lifestyles. 

Always thrilling to catch brief glimpses into multivariable globalized difference, whether it's a family subsisting in the jungle or the intense dynamics of inner-city life.

Some of it chill like large spiritual groups a' sittin' back chantin' peaceful rhythms, cohesively immersed within various communities promoting productive agile interactions.

Some of it distressing like the unenviable plight of the wee baby chick on its way to the dinner table, so much complex and moribund thought mechanically engineered to generate death. 

The machines, such incredible machines consistently moving with predictable motions, each tiny incalculable component seamlessly essential to the grandiose whole. 

I worry about my weed-whacker breaking down even though I hardly ever use it, there must be tens of thousands of parts if not more in these industrialized factories fabricating goods at all times.

In the same way the bucolic anthems of rural collectives maintain melodic harmonies, as hundreds of people work together in unison to directly praise nature and togetherness.

Coincidentally, how do you even find your place in these colossally imposing massive urban apartments?, if the elevator breaks you'd be in serious trouble and I don't even mind a bit of a walk from time to time.

It's like each building's its own small town and you can easily get lost within.

I imaging they have a level selling groceries etc.

How could you possible live with that many people?

Baraka presents compelling images opening up passages to holistic exploration, its spectrum vast and internationally eclective to village-city-business-and-wilderness.

A good companion piece for ye olde Samsara although watching both films in one night may lead to awestruck overload.

It may have been one of the first documentaries to approach the world in this fashion.

Therefore pioneering, brilliant, and seminal.

The Ploughman's Lunch

Difficult to say if anything you consider will ever lithely generate a relevant buzz, something that fits with trendy conceptualizations regarding spectacular events or age old pastimes.

So many fashions just seem so blasé still visually appealing but dull to write about, is it worth the time to conjure something else about the Suez Crisis or World War I?

There's a philosopher named Derrida who was famous when I was attending university, for so many things I never came to know but also for writing lengthy pieces about random ephemera. 

Not to suggest that a pair of shoes isn't substantial you need to wear them each and every day, but it was so impressive to read lengthy texts about random objects that otherwise seemed meaningless.

He would diversify the specific construct with verbose multidimensional correspondence, eventually proving through elaborate orchestration the meaningful vitality of the mundane item.

Therefore it's possible I never stopped instinctually preferring random offhand knick-knacks to prominent events, which still seem manufactured at times to generate markets for theoretical discourse.

At the same time, the oppression of a people holistically holds my distressed attention, I would rather support intellectual markets cultivating peace and understanding than always write about rocks and squirrels.

But, if I'm not mistaken, and I'm by no means a Derrida or Deleuze expert, in fact if I had read Deleuze in my youth I may have never bothered to write anything afterwards, the point was that elevating everyday objects like shoes or necklaces and indirectly equating them with jewels or crowns, would level the playing field and promote equality that would in turn subliminally contradict warlike pretensions.

Thus, even though one person possessed a radiant tiara decked out with emeralds, they would still respect the creative decisions made by inventive clients of local thrift shops.

And those very same clients meanwhile would apply their wit to the cultivation of creative fashions, without dismissing the bejewelled elegance of hypothetically luxurious esoteric customs. 

I still meet people who respect such insights although so many of them are older than me.

I'll still always love baguettes and cheese (and Ne'Qwa).

Saw a turtle today.

A fox and a rainbow.

Wrestling Ernest Hemingway

Wild exoteric bearings randomly committed to improvised exhaustion, airing grievances with cavalier cantankerousness as he recklessly interacts with resignéd strangers.

If you've heard his stories, you'll hear them again, and it's up to you to decide whether or not you're interested, I often find the exultation of recurring themes rambunctiously tender when conversing with the elderly.

Why not imperiodically exclaim lithe past successes with animate jocularity, especially after having reached your golden years with so much adventure to fluidly discuss?

Walter is much less extroverted he's reserved and mannerly and consistently respectful, following the same constructive well-meaning routine with dependable expectation each and every day.

He orders the same thing at his favourite diner every morning even if it isn't on the traditional menu, a light extravagance delicately hewn to courteously carve indissoluble discourse. 

Like dad, he likes his puzzles, and quietly contends with them lakeside in the afternoon, a peaceful way to flourishingly float throughout life's tranquil agéd fluencies.

Not as bold as Frank however and rarely seeking striking resonance. 

They make an impressive team nevertheless.

As they boldly navigate cyclical distress. 

Perhaps like Jekyll & Hyde characteristically split and bucolically subdued, Walter and Frank making a provocative duo which elastically excels at nothing in particular. 

Frank's unorthodox life during which he never developed self-critical reflections, at times leads to fun bike trips to see fireworks, at others buys a bottle of vodka as a going away gift.

Walter habitually goes with the flow and doesn't speak out unless drastically pushed, their arguments classic enraged debacles generating dissonant cutting offence.

I remember there being somewhat of a buzz about this film in my far distant maladroit youth, but I didn't hear about it again until sometime last week, and if there was indeed such a buzz way back when it was certainly well-deserved I rather liked this film.

Robert Duvall finds a new character to play after having already diversified so many roles, Richard Harris putting in the performance of a lifetime, it made me think that actors who still haven't found that ideal role still have plenty of time to patiently perfect it.

A great companion piece for Grumpy Old Men which was also quite popular around that time.

I hope the crew still isn't annoyed when people say that.

I'd most likely watch this film again. 

The Philadelphia Experiment

Probably best not to sign up when the army asks if you'd like to take part in a secret experiment, where they mention there may be potential side effects, and they aren't even offering that great a sum.

Jacob's Ladder and The X-Files make compelling cases for avoiding such initiatives anyways, the enthusiastic recruits permanently damaged after their courageous embrace of enigmatic science was forgotten.

The Philadelphia Experiment doesn't examine trial and error as it relates to medical research however, it's initially concerned with cloaking ships so the Axis can't detect them during World War II.

It's quite an elaborate set up the production impressive from a laboratory standpoint, so many lightbulbs and wires and connections that it seemed like a bona fide realistic test tube.

The special effects are classic '80s too indubitably impressive if you like that kind of thing, the transitionary phase from pioneering early sci-fi to the technological wonders we have today.

The experiment goes awry or the cloaking works too well you might say, the ship itself lost in temporal recesses two confused servicepersons transported to the '80s.

It's cool to imagine the electronic innovations of the early '80s as the height of technoendeavour, or to have been part of the audience intuitively revelling in the bewildered shock of the time displacement.

We still use one of the microwaves we bought at that time it's still in working order, although it takes awhile, knock on wood, hopefully it isn't slowly radioactively poisoning us as time goes by even if we rarely use it.

I don't know if I'm as blown away by time travel films that take place in the present, even if it happens to be around 40 years later, isn't the point to contemporize historical difference?

The Experiment still contains the classic startling moments when the different characters come to terms with their ahistorical authenticity, through the eyes of the time travellers and those they encounter alike, I'm a huge sucker for this kind of storyline.

Perhaps those old school computer graphics look as antiquated to today's youth as the monsters of '50s and '60s sci-fi did to me when I was younger, although some of those yesteryear vampire and Frankenstein films still seriously impress in this cynical day and age (horror not sci-fi I suppose).

Things are so tense politically at the moment, is it far too risky to make films where people travel to the future?

Will it seem like the ancient past?

AI ironically introducing the solution environmentalists seek.

Ed Wood

The robust nature of the American economy not only promotes the cultivation of genius, but also elaborately diversifies sundry spirited markets to relativistically uphold wide-ranging communal distinction.

Thus even without lauded academic study, or even the crafty mentorship of a gifted professional, random improvised passionate hands-on dedication can still ensure regenerative success. 

Are new intellectual embarkations not created when people proceed without skill or knowledge, their prominent errors and mistaken judgments accidentally nurturing novel eccentricity (as others have noted)?

To the curious open-minded enthusiast does enigmatic multivariability not accentuate harmonies as well, not solely within catchy appealing widespread relevance but also through blind innocent misapplication? 

But what may seem like impeti awry indeed brilliantly resonates with others astutely, the obtuse kitschy unconcerned orchestrations intuitively augmenting authentic dis/integration.

There seem to be styles which emerge from time to time which encourage mainstream trends referred to sophisticatedly, their nodes and anthems consistently manifesting popular themes and fashionable echoes. 

Although closer studies meticulously point out the competing ways in which such narratives are constructed, and the primordial multidimensional sociocultural goo amorphously binding everything together.

It all sort of fades genuinely deteriorates when you find yourself hardly ever watching television, or aloofly avoiding ideological interests claiming absolute embalmed authenticity. 

In your free time of course, relaxing, it's nice to envisage courageous alternatives, for a couple of weeks perhaps even a month transitional ephemera constructively cascading. 

So many great works of literature or even film remain inaccessible, it's certainly essential to preserve and study their form and content without generally dismissing everything else simultaneously.

In this manner the spectrum of comments and the variety of audiences interactively expand, thereby introducing manifold interpretations correspondingly attuned to concurrent inclusivity. 

Was the idea much more popular before the internet enabled such an infinite network?

The irony something to study anyways. 

How could definitive conclusions, faced with abounding contradiction and foil, ever culturally reinstate a feudal fulcrum, in a postmodern context as diverse as contemporary science-fiction?

Egads. 

The Adventures of Mark Twain

Mark Twain elaborately concocts a unique imaginative flying machine, upon which he chases Halley's Comet with three fortunate literary stowaways. 

Tom, Huck and Becky are unsure as to how to proceed, and never really settle into the versatile invention, inquisitively searching for structure and meaning while instinctually absorbing the bountiful narratives.

Stories within yarns within tales within legends creatively emerge with theoretical whimsy, presented through curious lighthearted exploration as the kids heuristically investigate away.

A ship much more like a mind its multivariable elements cascading, through trial and error and riveting hypotheses its temporal comportment ahistorical.

Perhaps part of the paradigm shift which led to much less severe religious interpretations, wherein which the literal executions lost their prominent cultural influence.

A move away from exacting obsessions with extremely precise uptight rules and regulations, to a more open-hearted freeform compendium liberally composed through manifold alternatives.

Twain himself struggles with the dutiful recognition of a regenerative constituent bipolar renaissance, within which his psyche proactively duels while realistically resonating rationales less ideological.

Difficult to suppress the reflections at times while ethically composed and poignantly accentuated, the active latent indissoluble antipodes habitually insistent with reckless remonstrance.

Thus, the importance of laidback comedy from pent-up time to pent-up time, not the new obsessive violent variety but the less destructive impulses of Twain and Chaplin. 

Twain's ideas and clever witticisms are seductively sprinkled throughout the script, his observant well-timed well-crafted comments judiciously diversifying tact and treatise.

Not often a public figure is so universally commended without crude accompaniment, when do you ever here anything negative critically mentioned about the old school phenom?

The Adventures of Mark Twain may have passed under the radar way back in my youth I admit I had never heard of it, at least until around this time last week when it suddenly seemed like a cool film to see.

Definitely a chill film for children interested in reading and bizarro imagination, a claymation gateway to a world of books poetically awaiting at the local library. 

Twain's insights make the film fun for grouchy adults who might not want to watch another kids film at the same time.

Perhaps overlooked due to its harmless unorthodox reflections on religion.

Which I thought were charmingly displayed.