We Live in Time

Temporal constraints motivating and hindering the progressive development of vigorous contemplation, the ticking-clock accentuating bold constructive split-second or strategic plans.

The resonant calm seductively sustaining positive thoughts multivariably exercised, tantalizing fruition anticipated and swathed as definitive timelines filter and structure.

The potential for limitless editing as mischievously suggested by Mr. Orson Welles, also provides lithe and tempting bearings to the infinite reimagining of spiritual studies.

The thriving possibility the interminable tantrums the heuristic horizons the enchanting escapades, demonstratively connecting interactive achievements intermittently coalesced through spontaneous reinvention.

A play's history the variety of performances exceedingly relates to unlimited mutability, the contemporary difference the hubris assumed fantastically enabling bright ahistoricity. 

We Live in Time we adapt and age as newfound challenges and developments alter, well-rounded paths and convincing philosophies economically synthesized through cultural schemata. 

We Live in Time the inherent ridiculousness of geologic masses imperceptibly duelling, inspiring romance and chaos and tragedy as biological rubrics scale and rupture.

We Live in Time the capricious seasons habitually recalling tracks and trajectories, temperate enlivened invigorated festive potentially sentimental breezes crazing.

We Live in Time emergent generations interactively communicating multifaceted alternatives, incongruously compiled in abounding treatises ephemerally delineating temperate eternity.

What a gamer, this determined Almut, who refused to yield even though she had cancer, who still competed in an incredibly demanding event even though she might suddenly die.

The forecast wasn't hopeful but she still may have lived if she had taken it easy, but if she had done so and missed out on the challenge and still passed, it would have seemed so utterly unbearable.

Cooking mind-blowing meals that one feels sincerely embarrassed to eat, like you're devouring Deutschland Café XIII perhaps while discussing the weather with someone who isn't listening.

It'd be fun to compose a poem while examining and appreciating such a meal in real-time.

A picture will have to do for now. 

Dazzling and light, endearing forays. 

Elliot the Littlest Reindeer

After Blitzen relocates to Jamaica, Santa (George Buza) needs to find a new reindeer, the resulting tryouts to be held posthaste, with many contenders from across the globe.

A feisty horse, who considers the matter imaginatively, thinks he's well-suited for the position (Josh Hutcherson as Elliot), and stows away upon his owner's (Rob Tinkler as Walter) airborne ride, hoping to sneak his way into the competition. 

His owner's facing tough times and may have to sell off his beloved animals, but little does he unsuspectingly know, the potential buyer (Martin Short as Ms. Ludzinka [and Lemondrop and Blitzen]) wishes them harm.

Things are lively at the distant North Pole as the reindeer gather to formidably articulate, old school rivalries and current disputes freeflowingly spiced with a dash of merriment.

Elliot's offbeat goat friend (Samantha Bee as Hazel) works her magic to see he's admitted, his training having roughly prepared him, for the fortuitous aerodyne heights.

But something's not quite right with the haughty general proceedings, as nimble Hazel accidentally detects, she sees extra cookies being given to DJ (Christopher Jacot) (the cookies give animals the power of flight), just before the first aeronautic stage.

After the resulting mayhem, which sees Santa cancel the events, she teams up with a clever journalist (Morena Baccarin as Corkie), to find the source of the flighty contraband. 

A haunting trajectory of historical intrigue clad in deception harrowingly awaits them.

As their human/animal alliance.

Sees the harmonious convergence of species.

Elliot the Littlest Reindeer traditionally celebrates unorthodox thinking, as 'lil Elliot asserts his independence in the hopes of joining Santa's team.

But many other staple traditions are creatively reconceptualized throughout, as Santa's workshop and associated legends take on the vice of the world at large.

Accordingly, Santa isn't lighthearted and jolly but instead rather stern and imposing, as he objectively oversees operations, in order to facilitate Christmas.

The reindeer are generally critiqued for being self-obsessed and somewhat dismissive, as opposed to simply dutifully managing the smooth flow of Santa's sleigh.

And the elves don't only make toys, and don't just work in a merrymaking shop, indeed discipline and order and inviolable hierarchy are much more prominent than Christmas cookies.

It's a solid alternative Christmas film that breaks new ground with festive flair (I'll likely watch this one again).

Even if I prefer a jolly Santa.

And elves encouraging laugh and play.

*With John Cleese (Donner).