Omoide no Marnie (When Marnie was There)

Troubled times pejorative loneliness habitual cheeky maladjusted disproportion, leads to isolated age old initiatives far away from any urban centre.

The village disseminates flavour characteristically concocting historical narratives, multilaterally nuanced through subjective barter, contradiction generationally resounding.

The family with whom she stays offer peaceful counsel and generous goodwill, a robust hearty unassuming caricature oft employed to generate cohesion.

But she still has trouble socializing as many do at different times, her critical mistrust and acerbic evaluations leading to unamused accusations of severity.

Fortunately, patience abounds, and people are forgiving, sympathetic, and understanding, not to mention at times aloof which gives her ample time to wander.

While exploring far afield in search of nothing in particular in turn, she accidentally encounters a curious youth hoping to make friends with stories to tell.

The two strike up a mutually accommodating freewheelin' compassionate empathetic union, which leads to what's oft referred to as friendship as tides ebb and munificently flow.

But just who is this mysterious girl who disappears as quickly as she energetically arrives?

Is there a syndicating secret synergizing soulful sentiment?

In time honoured traditional supernatural soroarity?

If you happen to have an independent daughter prone to legend and zealous storytelling, who at times confuses the other children and has difficulties understanding why?, Omoide no Marnie (When Marnie was There) may prove materially providential in regards to constructive sociocultural life, a film like none other concerning bonds forged between like-hearted spirits adventurously aligned one fateful summer.

Difficult to fight off the haunting doubts inconsiderately disrupting calm and tranquil trajectories, while consistently engaged with inhospitable alliances generally unconcerned with practical well-being.

It's odd how frequently you hear collegial messages expressing warmth and kindness, and how sporadically they apply while directly engaged with unfavourable distress.

The love of family hopefully can challenge the cynical uptight grim brinkspersonship.

Along with friends books music and film.

Neverending possibilities at the local library.

📚♮📽😎

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.

Knives Out

The details of a significant literary fortune gravely concern a renowned P.I., after its author passes away.

For multiple motivations could have driven his children to murder, although things seem quite prim and proper during preliminary investigations.

But bold personalities have lied about particulars to appear both innocent and ready to please, their uncoordinated individualized tales melodramatically unwinding under further examination.

Classic lackadaisical mischief improvisationally askew, a bit of lacklustre stiff-lipped cerveza effervescent undrafted clues.

An ingenue accompanies Benoit Blanc (Daniel Craig) as hypotheticals brashly accumulate, her involvement hushed up meanwhile while others clash and conciliate.

Unnerved as if something's counterpoised, or shifty, ill-gotten, extraneous, her own misdeeds wouldn't be so incriminating, if they weren't so exceedingly awkward.

Disbelief as inherently relied upon as stealth or disingenuous inquisition, what's to be said is difficult to say, if everything isn't just brought right back up.

Veracity assuming verisimilitude.

Awaiting redoubtable spectre.

A murder mystery not as stealthy as I had expected, still induces endearing alarm, more commercial than Frost, Morse, or Vera, its lighthearted humour in sharp cheeky contrast.

Almost as if writer/director Rian Johnson is aware of the appeal of astute British sleuths, yet sought something less traditional for his star-studded Knives Out, then hired Daniel Craig (James Bond) to detect with a Southern accent, to craft something much more American.

It's first rate unperturbed spice mélange, unconcerned yet still strict and serious, bashful yet residually haunting, determined to make things up as it goes along.

It generates enough interest early on to still entice as it gives itself away, cleverly concealing less evident alternatives, to sustain reanimating perspectives.

If there ever was an old world its conception disputes the new, as the media picks up the scoop, and youth habitually makes the right moves.

It's cool to see a film that finds a physical image to sum up its form in the end, although I can't mention what it is, although from what I've said it should be somewhat obvious.

Neither too light nor too dark and damning, another creative film from the versatile Rian Johnson.

Not as edgy or grim as Looper.

But certainly a lot more fun.

Pacific Rim: Uprising

The mighty Jaegers have slain their Kaiju foes.

And the world is at peace once again.

Jaeger legends still equip Earth's global master narrative with sublime exemplars of self-sacrifice and heroism, nevertheless, a technological behemoth has found a way to automate their gallantry.

Yet co-creator Liwen Shao (Tian Jing) doesn't know that a former global saviour, one Dr. Newton Geiszler (Charlie Day), has fallen for the Kaiju brain he infiltrated 10 years ago, and keeps in his apartment, and as a result of their secretive romantic mind-melding, has betrayed humankind, and placed homegrown Kaiju brains within each and every hard-driven robot.

Jake Pentecost (John Boyega), son of warrior Stacker Pentecost, and Nate Lambert (Scott Eastwood), son of Clint Eastwood, are unaware of this development as they drift once more, their friendship still persisting, even if conflict once dealt it a crippling blow, world security having brought them together again, to save the planet from Kaiju attacks, round 2.

The Kaiju-brain-led-Jaeger-automatons (sort of like Krang in Teenage Mutant Ninja Turtles) maliciously situate themselves at strategic points round the Pacific Ocean, and thunderously begin generating new breaches.

Before loyal Dr. Hermann Gottlieb (Burn Gorman) can shut them down, 3 Kaiju ascend from interplanetary oceanic depths, eventually merging to form, a monstrous ÜberKaiju.

The fate of the world may rest in the hands of one orphaned girl (Cailee Spaeny as Amara Namani), who builds her own Jaegers, and may find herself kicked out of the Jaeger training program.

For actions prohibited.

One cataclysmic day.

Pacific Rim: Uprising may lack the jaw dropping ridiculous blend of kitsch and sophistication that frankly yet elegantly adorned the original unheralded masterpiece, yet if you loved number 1 it's certainly a must see, for its characters battle Kaiju once more, and the stakes are just as high, if not even more catastrophic.

Disappointments, second chances, ingenuity, treachery, motivational speeches, teamwork, rivalry, love.

Positive attributes abound within, yet it's still quite rushed, rather impatient, like its crafters wanted a finished product as soon as humanly possible, and didn't take the time to add the refinements that made the first instalment so appealing.

Still fun though.

Much better than Independence Day 2.

Immediacy can generate a lot of compelling narratives, but it shouldn't be used to rashly justify wildly improbable scenarios, unless they're delicately timed and patiently brewed.

Another thirty minutes may have helped.

Looking forward to round 3.

Rich with inherent intergalactic instabilities.

Loving Vincent

Choosing an occupation isn't so easy for some, not easy at all for many, and can be a source of frustration for those who don't have much desire to do anything, for the majority of their lives, even if they develop expensive tastes for automobiles, or, perhaps, exotic vacation destinations.

Social evaluations of job titles and financial motivations can be disheartening as well, especially if that which you never wanted to do earns less money than something else which someone else never wanted to do, when situated within the context of various cultural mating rituals.

But some make the decision to follow their hearts despite dismissive pretensions or a reliable income, and apply themselves vigorously to something they love doing, much to the dismay of people who never really loved or had any desire to do anything, it's a strange social phenomenon that can discombobulate if considered logically.

The disenchantingly bizarro.

Competing discourses of maturity.

It's not like this with everyone, but in Loving Vincent a tragic account of exclusivity explains why the brilliant painter Vincent van Gogh (Robert Gulaczyk) was unable to feel at peace throughout his professional life.

He spent years painstakingly developing an original style that was only moderately celebrated during his lifetime (he only sold one painting for instance), and never really felt as if he fit in.

Cast out from his hometown, judged peculiar by his parents, unsuccessful with traditional occupations, a depression set in which was soothed by constant work.

Loving Vincent celebrates that work in one of the most beautiful films I've seen.

Perhaps the most beautiful, I've never seen anything like it before.

Like a distant graceful star consciously transmitted its sympathetic and understanding warmhearted radiance to the brushstrokes of dozens of gifted artists, and left them capably distilling sweetly flowing raw solar energy with the tender care of loving parents who seek to bless their children's youth and adolescence with the utmost imaginative uncompromising love and sacrifice, and simultaneously, through an act of synthetic genius, fluidly articulated the starstruck luminescent incandescent joyful orchestrations of the children as well, thereby exemplifying freespirited innocence and wonder, like an enchanting and carefree perpetual Christmas morn, Loving Vincent harnesses gregarious gifts and shares them with modest intent bewilderment, delicately crafting an image of a curious soul, who was tragically misunderstood if not overlooked by dull considerations of propriety.

I'm sure Loving Vincent will view well on a television screen, but it's so worth checking out in theatres.

To say that it should be seen in theatres wouldn't be fitting, however, due to the laissez-faire chill style of the lauded humble subject in question.

I agree with the postmaster (Chris O'Dowd), animals really can know your heart at first sight, but you have to be willing to know theirs too in order to notice.

It's like they intuitively sense love, good, evil.

More than 100 artists came together to craft Loving Vincent's unique oil paint animation.

Quality and quantity immersed in effervescent equilibrium, it's like collective conscious soul, cinematically reified, by acrobatic admirers.

What a painter.

What a calling.

What an artist.

His conflicted infinities, ingeniously underscored.

His extant outputs, kaleidoscopically exceeding.

Maïna

Intertribal relations bellicosely deteriorate as a restless megalomaniac seeks control of his clan, the Nearly Wolves, the aftermath of his ambush of the Men of the Land of Ice leaving Maïna caught between Innu and Inuit worlds, wherein misunderstandings and revelations communally mingle, devastatingly enlightening in turn, chasing the wind, in the land without trees.

The unknown presents an invigorating sense of bewilderment as Maïna (Roseanne Supernault), daughter of the Nearly Wolves's Chief Mishtenapeu (Graham Greene), protecting young Nipki (Uapshkuss Thernish), must join a group of Inuit travellers on their voyage home, one of them, bold Natak (Ipellie Ootoova), known to Maïna through her dreams, a new language, new customs, new lands, viscerally vivifying, as she adventurously comes of age.

Natak and Maïna fall in love but challenges face their union as she acquaints her new neighbours with the traditions of the Innu.

At a critical moment, her continuing survival having been jeopardized, Nanook embodies the unknown's extreme malevolency, understanding and support being required to integratively overcome the hunger, and peacefully initiate the flowering of difference.

Maïna comprehensively blooms love's emotional omniscience, artfully blending the confrontational with the mesmerizing, navigating clasped distances, flourishingly mused.

Petulance and prejudice challenge its tumultuous tranquility, as Maïna demonstrates that she too can hunt, and Natak must balance divergence and docility.

Cinematography by Allen Smith.