Equinox Flower

Docile diminutive barren lotion

studious encouragement insipid lounging,

sheer dedication bedouin brow

prosperous journey windswept stealth.

Falcon festoon petrified viaduct

vital tradition newfound trajectories,

versatile threshold fecund elaboration

hybrid harangue embroidered conniption. 

Derelict diminuendo indignant stampede

cozy caprice byzantine verse,

shutterbug 'slaw coca-bifocola

lumberton lunette fiesty gargantuan.

Intellect industry cerebral artistry 

ludicrous variance spiritual rhythm,

sacre bluebellrung piccolo plasma

fisher fiesta mink arug'. 

Doting disintegrate vaporous swirl

steam-engine whistle fluid cascade,

disarming allegiance earnest distraction

vacant obscurity wholesome void.

Nautical nebulae veline vedette

laidback seclusion storefront stroll,

intuitive browse discerning homage

clandestine collage emotive fuel. 

Heralded harken kraken cadre 

zodiak zephyr tenacious teddy,

spontaneous sharing gushing glare

erudite script fervid eccentricity. 

Rigid resilience lithe determinacy 

opaque shadow furtive blush,

conception pillar plush exhibition

indicative throb shimmering sheath. 

Glib infatuation harnessed extraction

unbridled feather carefree flakes,

recalcitrant meadow recrudescent glade

contumelious dell frenetic afield. 

Enigmatic instinct tempestuous glob

globular glisten deciduous dew,

frosty discrepancy drifting dalliance

rustling reverie sojourn breeze.

Flip hibernation transient torpor 

eclectic dream impassioned variables,

slumbering forest cavernous mountains

blithe somnambulism joyous fragility. 

Why do some animals sleep throughout the winter while others struggle to find food?

Was it through the defiance of a jaded divinity?

Or as the climate shifted, did they simply not move away?

Feel bad for local deer anyway.

They be strugglin'.

Big time.

David and Lisa

Sequestered far off in sympathetic regalia a gifted adolescent gradually makes friends, his highly strung opinionated disposition leading to conflict after first moving in.

If anyone harmlessly touches him or even suggests shaking hands, he erupts in crise de colère believing illness or malady will soon emerge.

None too amused with the psychiatric practice he defies his doctors as they present questions, quick to diagnose what's latently presumed in whatever is lightheartedly discussed.

Extremely defensive and generally combative an otherworldly fellow student puts him at ease, as she innocently communicates with rhymes and freely expresses herself through drawing.

Her carefree influence institutes calm and he starts agreeably listening to others, and taking part in various activities without introducing bitter criticisms.

But his parents aren't so sure he requires consistent supervision, and decide to bring him home long before he's contentedly transformed.

They try to help him comprehend what they consider to be sound.

But he misses his newfound friends.

And their free-flowing unorthodox collective.

David and Lisa is a touching must-see for anyone who's ever felt like somewhat of a misfit, for within irreverent rascality finds cohesive charmed community.

The affected or grouchy or compulsive or blunt find a safe place unobstructed by conformity, and eclectically assert multivariable dissonance in sweetly flowing uncanny favour.

Fortunately the doctors aren't motivated by strict pretensions, and by listening while freely conversing they remodel overbearing instruction.

There's no specific time limit and even less of an agenda and by no means a strategic plan, the students are rather given free time to matriculate beyond firmly structured commands.

Since there is something they just don't quite get in relation to generalized sociocultural temporality, it's wonderful to see them given the space to cultivate something random and specialized.

Through mutual acceptance and compassionate tolerance healing ascends with concordant eccentricity, and hang-ups and grudges and chips slowly fade since there's much less demand for routine predictability. 

Grievances persist but they're much less intense and friendship sees that they're readily forgiven.

An outstanding heartfelt film.

That's as sharp as it is mellifluous. 

Bumblebee

At the transformative heart of Travis Knight's Bumblebee rests polarized misperception glacially endowed.

Cybertron is lost and the Autobots have fled, B-127 (Bumblebee [Dylan O'Brien]) tasked with finding them sanctuary, wherefrom they can regroup and plan, whereupon they'll be cloaked and hidden.

But the Decepticons have followed, three in fact, eventually, one at first, and if they're able to report their findings, his mission will end in failure.

He has landed upon Earth during its most exceptional decade, even if he's greeted none too kindly, even if he then forgets all.

The internet has yet to revolutionize everything planet wide, however, Cypertron correspondingly suffering from a lack of technological advancement, for even though the Decepticons know he is hiding on Earth, they cannot easily transmit this discovery.

As if Cypbertron and Earth are unconsciously linked through intergalactic evolution, and what happens on one planet contemporaneously takes place on the other, technologically speaking, even if humanity does not explore space.

Bumblebee is found by a defiant young adult (Hailee Steinfeld as Charlie) who is dismissive of her stepfather (Stephen Schneider as Ron) and seeks her own car.

Little does she know that her unassuming angst-ridden pursuits have opened a gateway to starstruck conflict, and that her newfound friend and confidant is sought after by mature disaffection.

The concern of her parents is augmented by the military's presence, everyone eventually rallying to her side, in tune with the spirit of the times.

Although the romantic dreamer within (John Ortiz as Dr. Powell) is depicted as a do-gooding lump, tough-as-nails Agent Burns (John Cena) standing out in sharp contrast, yet as the plot unravels the dialectic pretensions of the Transformers cause both individuals to reconsider, Powell realizing he should never have trusted Shatter (Angela Bassett) and Dropkick (Justin Theroux), Burns accepting he was mistaken about Bumblebee.

Charlie also learns she was wrong to malign her stepfather's goodwill, for even though he promotes compassion, he can still drive like Satan himself.

Functioning like a stern loving synthesis of sorts.

Thus, within this humble Bumblebee we find rudimentary political philosophy reduced to democratic elements, as predetermined judgment is actively critiqued by withdrawn yet impacting middle-ground motivations.

Perhaps not the best transformers film, but that doesn't mean the music and legend of a long past fabled epoch can't still ensure good times, or at least make up for the film's overstated grumblings.

Too much of the, "let's shoot before asking questions and make the guy who asks questions look like a fool" though.

Possibly the best soundtrack ever.

Mary Queen of Scots

A young idealistic Queen takes the throne in brave Scotland, a queen as familiar with communal ethics as she is unaware of treacherous plots, her gallant attempts to ecumenically harmonize defiantly subverted by rank misogyny, her courageous desire to have a family, reproached by hearts diffused.

Woeful political intrigue, direst soulless plagues.

It's like at any time there are many conflicting interests, and every one of them thinks they're pursuing just objectives, and if they actually want to reify their ideas even though they rest in opposition, byzantine arrays of begrudged conflicting alliances engulf them, the steady mind keeping track of every variation, even if he or she can by no means lead.

The individual in power attempts to change things and can hopefully rely upon the discipline of her or his colleagues, as Elizabeth I (Margot Robbie) did in England for quite some time.

He or she must command differing degrees of respect, soothe aggrieved adversaries, yield when it's advantageous to do so, act at opportune times.

William Lyon Mackenzie King seems to have been a master at doing this from what I've read, perhaps because he proceeded inductively, that is, even though he had ideals he still had to balance manifold competing factors (personalities, internal and external opponents, divergent regional agendas, budgetary constraints, campaign promises, ethical expectations . . .), each with their own comprehensive sets of particularities, to implement them, so he studied individuals, learned what motivated them, learned when to trust and distrust those surrounding him, since he understood what conditioned their advice, and his incisive study allowed him to balance a relatively concrete house of cards for 9 then 13 years, with an enviable composure few could ever hope to possess.

He knew when to listen, when not too, and therefore gained the respect of the level-headed individuals within his government, and beyond.

There are no mortal gods, only women and men and clever narratives, William Lyon Mackenzie King at least had some support which unfortunately Mary Stuart (Saoirse Ronan) did not, her wise sympathetic ideas unsuited to the volatile times.

She was feisty though, and beautiful, and put up a good fight, won some key victories, and was loved by many.

If Mary Queen of Scots's as independent as it seems, a good match for its headstrong subject matter, director Josie Rourke certainly made the most of her finances.

Convincing battle scenes, impressive aerial shots, a huge number of extras travelling through landscapes which seem remote, castle dynamics, armour.

It's solid, a tragic tale passionately brought to life, myriad characters adding depth, historical sorrow, and contemporary vindications.

There's an incredible shot of Saoirse, which lasts for some time, during which I imagined her becoming more and more sublime as she ages, and continues to take on bold challenging roles.

Margot Robbie's great too, the film's very well cast (Alastair Coomer) and seems to have been taken seriously by everyone involved.

I was hoping for two or three earth shattering royal declarations, the magnanimous linguistic authenticity of which would resonate with incumbent thunder.

But you can't have everything, and the writing's still quite good (Beau Willimon and John Guy).

One of the best films I've seen in 2018.

Enriched through bright enchantments.

Defiance

Edward Zwick's Defiance chronicles the harrowing and heroic plight of a group of valiant Jewish villagers as they hold out in the forest against Nazi oppression. As World War II rages on, the inhabitants of Belarussia fall prey to fascist aggression and must find a way to survive against seemingly insurmountable odds. Brothers Tuvia (Daniel Craig), Zus (Liev Schreiber) and Asael Bielski (Jamie Bell) lead the group and struggle to maintain both a sense of community and fraternal unity. As their time in the woods wears on, the pressures associated with conducting frequent midnight raids, occasional acts of retribution, and administering a starving populace, test their resilient characters, presenting them with unanticipated complications that only their continuing resistance can overcome.

Each brother finds their own path throughout Defiance's narrative. Tuvia is the head of the group and must make tough decisions to maintain a semblance of order. He butts heads with younger brother Zus who wants to fight more aggressively and consequently departs to join a group of Soviet militants. And youngest brother Asael contends with his timid character, rising above its natural inclinations to frequently engage in acts of heartfelt and painstaking heroism.

Their community grows and thrives throughout with intellectuals and a commitment to equality rounding out its social contours. Fighting against all odds, they dig in their heels and refuse to yield, all the while displaying the qualities of both consummate courage and gregarious, magnanimous, humanity.