Midnight Run

A mischievous moneyman suddenly flees with 15 million in cold hard cash, his life in serious objective danger as he's hunted by the mob.

He's also swashbucklingly jumped the generous bail that was put up for him, the furious cash poor unscrupulous bailbondsman hiring a bounty hunter to track him down.

The FBI also need him as a witness to put the ruthless mob boss behind burnished bars, and want the bounty hunter to securely help them in the strident pursuit of the creative malcontent.

The mob offer the sought after bounty hunter an enormous sum to hand him over, but he stubbornly refuses and makes his way risk-fuelled and daring.

The baidbondsman loses faith in his trusted man when he loses contact, and hires another bounty hunter to track him down as he makes his way across the U.S.

As to be unexpected the crafty numbers man turns out to be kind, not an exacting cold hamstrung blank but more of an uncle you see every birthday.

As time passes and the various interests slowly converge with restrained excitement, the somewhat brutal hard-hearted ex-cop has to admit he likes his quarry.

But let him loose and suddenly lose all that sought after quick-easy money?

His conscience battling sundry surmises.

As the journey bivouacs and gesticulates.

Intricate and inherently misleading the expedient Midnight Run diabolically proceeds, to obdurately search for a subjective answer to conflicting dilemmas interminably flounced.

With classic hardboiled streetwise dialogue the gritty script garners grizzly accolades, as the frustrated opponents blindly contend in an opaque contest fading and shifting.

If you were ever curious about Charles Grodin it's one of his more interesting films, he steals scenes and emphatically impresses as the conscientious bold endearing number cruncher.

Robert de Niro impresses as well as the hesitant once highly-decorated cop, who had to reluctantly find alternative employment due to endemic corruption on the force.

The action's constant in consistent flux as the myriad characters awkwardly engage, like a searing rough dishevelled carnival tempestuously twitching and chaotically toned.

With the old school focus on multiple characters conditionally respected within the script, given ample room to bombastically express themselves as the mayhem cacophonously resonates. 

Should it be classified as Film Noir, there's no femme fatale but the bounty hunter's unlucky, and it's certainly grim and lowdown but not without intricate style and dignity. 

High stakes storytelling nevertheless thrillingly occupying dissonant thresholds.

Lugubrious chivalry, delirious flux.

Skilfully shorn.

Not just another cop film.

*Yaphet Kotto's good too. 

Yearning

 *Spolier Alert

A dedicated daughter-in-law spends her life managing her new family's business, her intricate savvy and reflexive know-how having saved it from ruin during World War II.

Her husband passed in the war though and she sadly never married again, although she honourably cherishes his memory with devout respect and wholesome dignity. 

A new supermarket opens in town and starts undercutting their trusted prices, leaving her in-laws in a difficult spot which they need to manage with nimble moxy. 

It's decided to expand the business and boldly open a much larger store, but the loyal intuitive multifaceted manager is initially denied a leading role. 

It's thought that she should remarry and a suitable candidate is wisely chosen, 17.5 years having gone by since her husband passed, the idea perhaps not that socially awkward.

But she refuses out of heartfelt devotion and eventually decides to return to her home.

But not before she distressingly discovers.

That her deceased husband's younger brother is madly in love with her.

The ending's a brilliant illustration of the conflicting post-war attitudes in volatile Japan, the younger less rigid experimental viewpoints and the older more orthodox sociocultural rules. 

Reiko has to admit that she has feelings for Koji and that she's felt amazing since she learned of his passion, yet still feels determinably duty bound to her old husband's stately ultimate sacrifice. 

She's also much older than Koji and it's a bit weird marrying two brothers from the same family, but that doesn't mean she isn't tempted to continue living in the world she's created.

Unfortunately, while travelling home Koji follows her upon the train, and in their confusion they depart somewhat early and get a hotel just to think for the night.

Koji goes for a walk after another heated argument morosely breaks down, and gets too close to a haunting cliff's edge and earth-shatteringly falls to his unrequited end.

But is the film condemning Koji for having tried to break with the old conservative ways?

Or modest Reiko for not having embraced the newfound less severe liberal ideology?

It's classic obscured ambiguity which likely still generates debate amongst film fans.

A genuine tragedy embroiled in conflict.

Much too serious or excessively light. 

Strange Brew

A TV show is granted to two playful brothers who take rest and relaxation beyond excessive limits, their habitual shenanigans still sincerely amusing and able to please a critical crowd.

They're tasked with creating a film which they proceed to do without much of a budget, or crew or script or plan they're loving fans are none too impressed.

Out of beer and without any money, they concoct a plan to trick the Beer Store, a mouse in a bottle furiously exchanged for serendipitous suds should things go well.

The irritated staff has no patience however and quickly sends them to the brewery, where they try the same scam without success yet somehow manage to secure new jobs.

Their friendly nature genuinely endears them to the cheerful staff once they're introduced, while their carefree mindsets accidentally ensure they wander at random throughout the brewery.

Where they eventually discover the Brewmeister's mad and intends to addict the world to his despotic lager.

A mind control drug having been infused.

Within a fresh batch headed for Oktoberfest. 

A different age, a less serious time, when alternative narratives found lithe animation, their absurd ideas not meant to cultivate political movements or autocratic agendas.

Rather ridiculous heroes were meant to outwit much more maniacal foes, and celebrate sloth and gluttony through lackadaisical nimble networks. 

Who would have thought that the people at Fox would see such narrative strategies as political gold, and effectively use them to convince the public that candidates like Trump were closet geniuses?

For decades they catered to audiences who preferred characters who didn't excel, or even moderately comprehend good governance instead they never stopped behaving like children.

And Trump emerged in the televisual vortex to provide these people with a Fox Network candidate, not someone who wanted to improve things but instead a self-obsessed vainglorious madman.

I don't deny finding these characters funny when ludicrously situated within a sitcom, but to see them unleashed as leaders of the free world is far too dangerous and full-on insane. 

Sigh.

That's why the people who should love me hate me and why those who shouldn't secretly adore me.

Too complicated for blunt storytelling.

Which for some reason holds American sway.  

The Suitor

A young bachelor eccentrically lives the imaginative life of the daydreaming mind, and sees no need to embrace the rituals generally distinguishing adult life.

His books and posters and music and films are artistically preferable to in-depth discussions, and inspire less quotidian materialistic dialogues throughout the idle instructional day.

But his parents see a difficult future for their adored son if he doesn't marry, and adamantly encourage him to seek relationships and stop obsessing about pop music.

Unfortunately, he's constructively lived most of his life at play in his room, and has no idea how to talk to others or indeed even start a conversation.

A series of awkward random shenanigans mischievously and haphazardly ensure, but nothing compares to the stunning stars he routinely sees on television.

He often proposes to the striking tenant who rents a room downstairs in his house, but she can't understand a word he's saying and they remain linguistically divided.

In a last ditch effort he seeks to meet his heart's desire, a famous singer.

Working his way in behind the scenes.

To his grand existential disillusionment. 

You don't see this subject taken seriously in that many sympathetic feature length films, the sequestered perennial youth at habitual odds with relational maturity.

But rather than lump him in with wild lunatics which at times happens in such scenarios, a way is found to compassionately showcase his alternative manners and social expressions.

The behaviour isn't vilified there's sympathy for the amorous non-conformist, a comic account much more conducive to eventual communal integration. 

I suppose I've never investigated how often this type of narrative shows up in film, I just know I rarely see it and have only really heard it mentioned in British pop songs. 

I'm therefore quite impressed with Pierre Étaix's lighthearted cinematic début. 

Not as elaborate as the versatile Yoyo.

Still sewing the seeds of daring exhibition. 

Jacquot de Nantes

A young experimental film enthusiast concentrates on vivid storytelling, having instantaneously been mesmerized by the first live puppet show he went to see.

Growing up in Nantes in France with loving parents in a lively neighbourhood, his imagination roamed far and wide while often focused on the cinema.

Family life embraced the trades since his father owned a bustling garage, and wanted his son to become a mechanic and learn his catechism and keep things real.

Little Jacquot hesitantly obliged since he wasn't as rebellious as some, but still worked on creative independent films alone at night in their humble attic.

His mother and father had to admit that he had real talent when he showcased his films, every meticulous minuscule detail having been delicately crafted.

World War II breaks out and the family is briefly torn apart, dad working in a shell-factory by day, the children moving to the countryside at times.

But Jacquot never stops creating nor watching films with heartfelt awe.

Eventually directing agile tales. 

As part of the French New Wave.

Jacquot de Nantes proceeds with loving candour as it romantically illustrates its subject, dynamically directed by Jacque's wife the incredibly talented Agnès Varda.

She carefully links his active childhood with laidback material from his films, first imagining how the moments might have taken place before showing them depicted on the silver screen. 

Jacques Démy himself also comments to add more depth to the bold filmography, his poignant insights generating layers of intricate exuberant narrative detail.

Captivating to see a sincere exhibition of a thoughtful artist and his breathtaking work, lovingly shot by another auteur who genuinely loved him with innocent tenderness.

I've never seen one of his films which is a shortcoming I'll have to remedy. 

Such knowledge.

Such wild inspiration. 

Peacefully blossoming.

Limitless and free.

Come and See

One of the most blunt traumatic films to ever illustrate Nazi World War II horrors, Elem Klimov's Come and See cacophonously presents sheer total war.

Seen through the eyes of a child who dreams of heroically saving his country, the horrifying effects of what he encounters enough to debilitate the strongest man (or woman).

He's left behind after being recruited since his boots fit an older soldier, so he makes the trip back home only to find his family has been slaughtered.

With another orphan he gradually makes the awkward journey to a secret hideaway, where they team up with humble survivors who are desperately struggling to find food.

He then heads out with some brave citizens to find supplies to ease their hunger, but the older individuals are soon shot down and he's eventually captured by the Nazis.

Who then take the citizens of another town and cruelly lock them in a barn.

Which they proceed to light on fire.

The boy narrowly escaping.

There's a visceral haunting grotesque evil effectively showcased in Come and See, which doesn't shy away from directly depicting the inherent terror of unleashed fascism.

As the monsters who wickedly believe they're the master race destroy and devastate, their sick malevolent point of view is thoroughly disputed and castrated.

The film isn't an exaggeration they murdered and butchered unarmed civilians like this, and sent many of the survivors to death camps where they fruitlessly laboured without end.

Such an ideology motivates psychotics who want to viciously and dismally demonstrate, that the openminded collective free world was unfortunately unable to vanquish hatred (it seemed so plausible before the internet).

And just as the Nazis terrorized the Soviet Union Russia currently attacks Ukraine, the victim so obsessed with its once hopeless position that it despicably embraces the oppressor's logic. 

If you want to see the fascist end game watch Come and See in stoic shock, and look on as people who could have been friends are wildly reduced to pestiferous ruin.

It angers up the blood and leaves one more determined than ever.

To embrace the olive branch. 

And stop such things from happening.

Sanjuro

The improvised planning of the itinerant samurai much more fluid in the cerebral Sanjuro, after a group of younger emboldened citizens discover a plot to dispose of an elder.

The samurai meets them by chance on a world-weary voyage leading to their door, where they innocently plan their audacious activities with impulsive daring and simplistic fortitude. 

Little do they know, they're being surrounded by the very same scoundrels they hope to challenge, who have brought at least 100 men to unceremoniously ambush them.

The samurai uncovers the plot and quickly overcomes his habitual boredom, immediately employing his requisite cunning like a grand-chess-master to outmaneuver the danger.

He swiftly realizes the group is honourable and therefore decides to offer his protection, putting advanced logic and reason to work in the adventurous aid of the sublime do-gooders.

But his lacklustre bearing his indolent mood doesn't quickly win over their skeptical hearts, especially since he drinks too much saké and at crucial times seems distant and irritated. 

They find when they listen to his strategic counsel they usually outwit their foes nevertheless.

And after much heated arguing amongst themselves, eventually agree to suffer his temper.

Not as explosive as many a chaotic borderline reckless wild samurai movie, but still quite endearing to strategic minds who truly love spur-of-the-moment planning.

Truly like an active chess game where each single move must be delicately balanced, the hardboiled yet caring demonstrative leader entertaining his students while refuting their folly (like the opposite of Trump's daily antics).

It's fun to watch as they impudently quarrel with the wise honest master lending a hand, alas no matter how many times he saves them they still adamantly doubt his chill erudition. 

The samurai is thrilling to watch if you like free confident ingenious odd heroes, whose skills are so genuinely imposing they take spectacular risks as if they were simply gardening (with bears).

Like a formidable saviour guarding the just from bellicose foolishness in corrupt mortal lands, the warrior proceeds with ethical daring even though he could have kept wandering alone.

From village to village the unruly countryside curiously wondering who will suddenly show up.

And add some spice to bucolic life.

At times routine, yet never overdone. 

Ikiru

The fluid motion of the bureaucratic stream meticulously generating endless paperwork, to be filed and effectively categorized as emergent initiatives continuously diversify.

A steady job punctilious no doubt but relatively safe with benefits and comforts, not as lively as poetry or sword fighting but still dependable, reliable, and calm.

Nevertheless, concerned citizens seeking dynamic change may run into hardships, if things stagnate and there's no will to moderately adjust the status quo.

In Ikiru, for instance, determined mothers seek to change their environment, due to the incorrigible waste water leaving their children covered in rashes. 

Coincidentally, a senior civil servant who loves his family and is known for hard work, unfortunately discovers he has stomach cancer and only 6 months to a year left to live.

He decides to uncharacteristically withdraw some money and extemporaneously galavant around town, and soon becomes harmlessly infatuated with a spirited younger employee from work.

As she becomes bored with their routine which is somewhat too outgoing for the conservative climate, she asks him why he likes to spend time with her and he bravely decides to answer.

Her youthful spirit it captivatingly seems has reinvigorated his thirst for life, and caused him to reimagine his working role and spearhead change within his department.

They never see each other again but her accidental influence bears auspicious fruit.

And without much time left to live.

He charismatically champions change.

Stick with Ikiru's good intentions it gradually builds to a wholesome climax (Ikiru, not the United States), difficult to make a thrilling bureaucratic film that modestly presents humble good natured caricatures. 

I'm so used to Kurosawa's samurai that this was a surprise full of uncanny feeling, where the civil service functions bucolically amidst the insurgence of lay councilpeople.

I wonder if it was inspired by Dickens it's like The Circumlocution Office in Little Dorrit, where one of its employees isn't exactly like Scrooge but still wondrously changes for the communal good.

Imagine translating Dickens into French let alone Japanese brilliant translators are invaluable. 

How to understand different languages so well at such high levels.

Mind-blowing to say the least!

Yojimbo

A small town in the Japanese countryside embraces bleak internal conflict, as a local chieftain compassionately decides to give his business to his only son.

Such a traditional act cumbersomely enrages his right-hand man, who spent his life helping him build up the business and in turn expected to take over one day.

Unable to reach an agreement they furiously square off with uncompromising angst, then slowly chip away at each other's forces while desperately seeking a lasting advantage. 

When a grouchy itinerant samurai suddenly shows up within their village, curious to see what's going on yet hesitant to actively engage.

He eventually tries to side with one family (out of boredom) but then overhears a secret plot to murder him, which doesn't drive him to the other side but leaves him suspicious and self-absorbed. 

After conducting more hands-on research he has to admit the town's a mess, and even if he likes to cause lay mischief he still remains a conscientious man. 

That conscious soon put to the test when he learns of a family turn asunder.

Deciding to champion their holistic freedom.

He helps them escape only to be captured. 

A bizarre sympathetic embattled examination of a cunning jaded world-weary warrior, Yojimbo showcases immutable strength awkwardly juxtaposed with belligerent caution.

It's fun to watch as the brilliant samurai cleverly predicts what's going to happen, going over the different scenarios in his head as he makes decisions he'd rather ignore. 

Imagine a time long before the advent of automatic weapons when there was still honour in fighting, and it was dangerous to challenge the most-skilled who had been well-trained in swords and strategy.

But what a useless life for many who were hired to amass a chaotic gang, and lived only to fight in battles they couldn't win when corrupt overlords acquired them.

Emancipating the feminine and taking their viewpoints into active counsel with honest intent, can lead to a world more dynamically structured with other alternatives than organized combat.

So much of the world seems to have done this although in so doing some were left behind.

Who recklessly seek the old bellicose ways.

As long as they never have to do any fighting.