After Hours

A strait-laced data analyst embraces his routine (Griffin Dunne as Paul Hackett), predictability the 9 to 5 smoothly flowing trusted and disciplined. 

An imaginative co-worker dreams of something more (Bronson Pinchot as Lloyd), something beyond cold codes and programs, an open-minded journal that promotes diversity.

Paul dismisses the idea even though he likes to read, mundanely ensconced in static cynicism, unconcerned with creativity.

Yet while reading alone in a diner, a single lass takes compassionate interest (Rosanna Arquette as Marcy), and soon they've decided to meet up later, Mr. Hackett moving beyond his narrow confines.

But should he have left inanimate routine inexplicably behind with adventurous longing, to suddenly extend bland limitations past the stilted sure and steady?

How will he react to liaised limbo immersed in scintillating shock, as enigmatic interactions present uncanny striking novelties?

It's as if he's entered Lloyd's journal with blasé editorial intent, the artists suspicious of his lacking spry free-flowing flexibility.

Instinctually composed beyond traditional direction, oddball night owls offer conspicuous fervid nimble characterizations. 

Bourgeois logic remains irrelevant he can't make the adaptations, his hopeless attempts to assert control instigating chaotic tension.

The journal requires inherent variability latent unorthodox unawareness, without patterns pragmatic paradigms smoothly shifting random flux.

The desire to reasonably analyze in search of auspicious thematic cohesion, leaves him synchronistically stranded as he attempts to swiftly improvise.

But the unknown erratic elements adhesively unite through enthused criticism, generating instantaneous aggrieved startling multidisciplinary import.

Perhaps he'll be a manager some day but on this night he has no agency, and must adjust to the ironic insurrection of laidback generally accommodating peeps.

Thus the arrhythmic inconclusive intuitive chill spontaneous tangents, prove that they don't watch cable television or sit back and read the news.

A wondrous lively essential eclective naturally responding with unclassified stamina, finds momentary momentum uncategorized active spiritual flight.

I'm not sure if he's meant to be comic or if he's portrayed in a tragic light.

Which lends the film a bit of mysticism. 

When thinking about it later on. 

With Teri Garr, John Heard, Cheech & Chong, and Catherine O'Hara. 

Captain Fantastic

Intellectual athleticism, extreme elastic environmental ecstasies, raising the fam in the wilderness like a self-sufficient acrobatic critically inclined motility, hunting game and gathering edible plants, roots, berries, vigorously debating political and ethical thought while fighting as if atavistic Thoreau went forth and meritocratically multiplied, thickets and thespians, excavated escalades, plundered idyllic trial-by-fire equanimity, willing free spirits, stereoscopic centigrade.

Off to the city.

To pay last respects.

Confrontation.

Introspecs.

Competing rationalities flourish in Matt Ross's Captain Fantastic as the traditional is multidimensionally deconstructed, the stark opposition culturally communalized entre the devout and the dedicated aptly displaying reasonable idiosyncrasies, alternative acclimatizations, to frenetically fluid shushed postmodern democracies.

The religious tradition, obediently abiding by the structures that be with respect for law and authority contra the inquisitive argumentative life that debates to understand dynamic sociopolitical distillations.

Both approaches formidable in their fragility.

They clash at a funeral for one of the clan's matriarchs, her father disgusted by his son-in-law's way of life.

The film, a wild playful illustration of familial fervency that is a definite must see, practically every scene generating active thought, a rowdy critical examination of critical examination, as mischievous as it is shrewd, as carefree as it is uptight, questions as it answers to inculcate critical discourse, an interrogative humorous vista, envisioning variety with causal robust gaze.

As Ben (Viggo Mortensen) accepts that he has to respect even if he disagrees while engaging with others, his humanity conscientiously expands, even if it irks him considerably.

Top-down and bottom-up, his children catalyze this transformation.

Balance you know.

Liberty.

Beasts of the Southern Wild

Uncompromised unilateral implacable joy is wreathed within Benh Zeitlin's Beasts of the Southern Wild's opening celebrations, as a small community of countercultural enthusiasts gather to revel in the gift of life.

Seen through the eyes of young Hushpuppy (Quvenzhané Wallis), the festivities, and the rest of the film, transmit a youthful candour.

Qualified by directly applying extinct carnivorous didactic extracts to the forthcoming unreeling upheavals, as discoveries bearing no familiar points of tectonic reference, suddenly, present themselves.

And the resilient strength of her family and friends.

Innocently yet formidably dealing with while challenging her adventurous unpredictable shifting bohemian foundations, refusing to accept ill-considered permanent demarcations, imaginatively combatting fantastical realizations, and unyieldingly embracing the cycle of birth, death and regeneration, Hushpuppy inaugurates an icon for the free-spirited impoverished soul, and Beasts of the Southern Wild is a discursive feast for pensive humanistic diagnoses.

Beyond the state of nature.