Young Guns

Serendipitous saddling fomenting fortunes crackerjack kindness reverent rustlin', stampeding torrents literate loci instructive succour obliged education.

Haberdash hogshead tenacious teamwork Rubiconstructive retained regulators, truculent taunting subsiding swagger intellect jambience burgeoning blossoms. 

Collusive commerce nefarious networks jingoist junction Tatooine tirades, secretive sinuous stealthy swashbuckle malicious murder curmudgeon cabal. 

Renegade retinue leaderless posse passionate penchants kinetic collective, diatribe deputies laconic lawmen nebulous neophytes seditious swerve.

Mad uncharacteristic unruly Blitzkrieg undisciplined dagwooden undaunted dragoonies, occultist oddballroomatadorabble incensed discipupils adherent litter.

Internal combustion unsettling disputes cardionysus fraternal fissures, exacting ill-favoured rogue smallpox impression newfound internecine audacious comport.

Poetic proclivities amorous auction studious studebake uncertain unction, indiscreet bold nimble enamoured sojourn conjugal cosign vigorous reach. 

Bellicose business exceptional tenure unwavering purpose conspicuous focus, shock instigation lawless calibration embellished belief conceptual savvy. 

Indelicate danger insurmountable agency doughty nuthatch infinite conflict, rigorous tumbledown improvised fortitude carnivalesque formidable foes. 

Survivalist synergies wilderness verve exceeding temerity ambitious being, Old Mexico-sponsored galvanized gumption offhand industrious bushwhacking beatitudes. 

Unforgotten friendship disheartening news sinistorytime sequential stark staggered symmetry, foolhardy reckoning brave composition inexhaustible mantra cataclysmic mavericks. 

Innovative illogic western wimbledowntown youthful yippee-ki-yay exotic entertainment, perennial favourites ricardiocast enticing implausibility unkempt exaggeration.

Love Terence Stamp's role in this film.

Innate improbability. 

The best Billy-the-Kid movie I've seen.

Followed the cast in different films for years.  

Frankenstein

Once again, literate compassion for the soulful and tender reanimated beast, stitched together reconstituted to forever cheat vainglorious mortality.

When left alone far off and sheltered his innate world-weary warm-heart shines through, his resplendent inner-beauty impeccably beaming with forthright enriching illuminated humanism.

Such a shame that fleeting appearances mean so so so much in the eyes of so many, when countless wise and spiritual educators proactively rationalize the sheer illusion.

At times, it applies both ways to sights pleasant or disagreeable to the eye, both generally distasteful to tenacious treatises and their orthodox criticisms of aesthetics and disconcertment. 

But acting without concern for the inherent nature of unalterable characteristics, leads to much more pleasant thoughtful dialogue in terms of multivariable individual expression.

Through the mass cultivation of the many the reliance on appearance wholeheartedly fades, and sprightly exclamatory universals collectively diversify through latent whimsy.

Thus the blind inclinations which recklessly lead towards herd classifications, relatively loosen their stubborn prejudices and once again nurture the youthful life.

But Frankenstein's creation is herded and ruthlessly attacked through no fault of his own, and then elaborately made to suffer for having striven to defend himself.

That was what struck me from the novel anyways as I imagine I've mentioned before, the poor isolated creature alone and scared secretly monitoring the woodland family.

Completely unaware of his strength and innocently oblivious to old world hatreds, still faintly hoping to engage in conversation to not have to dwell forsaken in shadow.

That's always been the story for me not the depressing antagonistic aftermath. 

Which The Dodo challenges every day. 

Through the heartwarming preservation of life. 

Science is Fiction: 23 Films by Jean Painlevé

Long before David Attenborough started creating amazing nature documentaries, other visionary pioneering filmmakers set the cerebral stage, some not as fascinated by the more famous untamed beasties, like Jean Painlevé and Geneviève Hamon, who explored unheralded marine life for years.

They set their sights on the limitless sea and created a series of awe-inspiring films, creatively conjured and imaginatively nuanced in this chill and humorous compilation.

Instinctively driven by the unknown creatures whose otherworldly existence salutes biodiversity, they follow the lives of some of the most unique wild animals I've ever seen.

With instructive goals in mind and a desire to encourage aquatic acclimatization, to make one think of the billions of lives which exist beneath the waves while gazing outwards.

Indeed, parts of the ocean are rather similar to the sprawling concrete labyrinths we've come to know as cities, their complex interactive interconnected citizens having steadily evolved for resonant ages. 

I don't know what the turnover rate is for squirrel families on land in local forests, but the coolest thought is that the same squirrel fams have scamperingly existed in the same local woodland for thousands of generations (especially in areas with little to no human contact). 

That's why threats to endangered species acts are so shockingly foolish and cruel, the ways in which they ignore the millions of years these creatures have matured and developed alongside us.

They deserve to be left some space to roam as they freely have since they took formal shape, who are we to mess with the existence of outstanding miracles and flourishing distinction?

Painlevé and Hamon capture such life in its multivariable enriching abundance, and like poets unconcerned with fads they tenderly present the enticing unexpected.

I find with the plethora of contemporary nature documentaries illustriously abounding with fluent synergies, many of them don't lose sight of this focus and still present newfound insects etc.

Thus, in a program at times fiercely focused on lions and cheetahs, there's a pause in the imposing narrative to examine a bug or a bird or a rodent.

Like science-fiction and fantasy nature documentaries have changed remarkably since I was a wee lad.

With thanks to filmmakers like Painlevé and Hamon.

Who thought no doubt this is cool?

Ban octopus farms! 

🐙

Hudutlarin Kanunu (Law of the Border)

The sociocultural clash between education and enterprise, meritorious machinations grandiosely fluctuating.

Things have persisted as they've always been "for quite some time" along the border, smugglers arriving with goods to sell to business peeps offering assistance.

The military resolutely guards the frontier in a valiant effort to intercept the contraband, but resident experts keep track of their movements to scout the best location to break on through. 

Well-respected within the village for consistently engaging in ardent daring, they formidably co-exist at ease, unless bitter conniving and envious collusion furtively challenge their courageous resolve. 

A less volatile competitor is introduced through the wisdom of altruistic daring, civil-minded citizens hoping to open a school, while encouraging the bandits to freely farm.

Education and farming may not lead to lucrative windfalls, but the inherent dangers are much less severe barring the influence of despotic drones. 

Through the gradual cultivation of reason their lands could reap imaginative harvests, peaceful traditions concordantly emerging through the rational yields of prosperous contemplation.

Naturally, the application of intellect to industry constructs productive opportunity, versatile able communal ends abounding with work and relaxation.

The work may be much more steady and the relaxation somewhat less encompassing, but the hopes of earning a peaceful living engender calm and earnest reckoning.

Strange how it plays out at times how people who have earned a fortune selling subs or fries, have more political influence than learnéd peeps genuinely devoted to study.

The learnéd peeps unfortunately often having no idea what it's like to have a job, the hard-working peeps at times remaining unfamiliar with advanced concepts acquired through idle study.

They're at loggerheads at the moment even if Trudeau and Biden seem fair, if Trudeau's coming across as a jerk he's been pushed, I love watching Trudeau the warrior.

Law of the Border bleakly presents a world with no local schools, to point out how much worse things are without the potential for education.

Critiquing the educational system is a natural by-product of having received first rate instruction. 

Imagine the arguments you'd have if you hadn't.

If the only way to advance was through agile reading?

The Blot

A professor patiently educates for a small salary which hardly provides, his envious wife tired of their grim necessities as she yearns for her neighbour's abundance.

The neighbour knows how to make elegant shoes for trendy jet-setters with finicky flair, his seemingly flippant fashionable know-how much more highly valued than painstaking learning.

Well-off students within the Professor's class engage in shenanigans to pass the time, their disruptive behaviour resignédly noticed, appeals are made which esteem respect.

One of them can't help but take note for he's wholeheartedly fallen for the Professor's daughter, and stops by the library where she works every day for bursts of inspired well-meaning conversation.

She is also desired by a reverend whose monthly pay also lacks modest agency, and the son of the fortunate cobbler who would like to meet her as soon as he can.

But social prestige and occupational pride prevent the free movement of their innocent offspring, who struggle to comprehend their rather disheartening sociocultural stratification.

But The Blot was made when reform was afoot and sought to envisage less rigid realities. 

As to how they've played out a hundred years later, it's difficult to gauge within micro parameters, although The Spirit Level: Why Equality is Better for Everyone provides insights, which critique Anglo-American pedagogy.

There's certainly a steady stream of progressive ideas presented in film, books, music, and television, but alternative absolutist pretensions have bleakly arisen in recent years to contest them.

Rather disillusioning to see the autocratic leverage swiftly take animate hold, it seemed so irrefutably farcical and grotesque that it was shocking to see it transform the public sphere.

It's like there used to be distance between comedic reflection and its general applicability to cultural life, as if comedians knew what they were saying was ridiculous and never thought they'd gain prominent influence.

Although I'm being somewhat unfair since so many comedians do make funny applicable comments, but so much of it became violent and bigoted in recent years while disparaging so much constructive endeavour.

Another compelling exploratory book to be written if it hasn't been already who has the time?

Comedy is an essential democratic tool since it provides a voice to so many who disregard pretension and fight lofty totalitarianism. 

But if it becomes resoundingly violent and then develops pretensions of its own, it can become sincerely distressing if you disagree with its disengaged reflections.

La planète sauvage (Fantastic Planet)

Far off on a hectic planet humans (oms) are treated as undesirables, the dominant haughty traag species rather intolerant of different lifeforms.

They possess much greater height and ancient meditative traditions, along with cryptic advanced writing which the oms can't readily decipher.

They manage the om population with paternalistic uptight disdain, their children allowed to keep oms as pets, the free wild peoples treated like vermin.

One rather observant om is introduced to traag learning however, lessons transmitted through an omniscient horseshoe which traag children use to develop and grow.

Many om years pass and young Terr (Barry Bostwick/Eric Baugin/Jean Valmont) acquires much sought after knowledge, his owner aging at a much slower pace, losing interest with her pet as a teenager.

He takes his opportunity to escape and brings the encyclopaedic technology with him, abruptly adjusting to life in the wilderness, with peeps wary yet impressed by his learning.

Thanks to the didactic device many oms begin to acquire an education, and prove just as adept as they reflexively do here upon our own bountiful Earth.

But the traags decide their numbers have grown much too large to be safely managed.

Presenting an ambitious and wicked plan.

To engage in full-on extermination.

Rather unsettling to casually watch as humans fall prey to strategic whims, carelessly launched by unsympathetic derisive dominant domineering giants.

Their diminutive size and lack of resources leaves them vulnerable to various beasts, as do their scattered proud distrustful clans who bravely subsist in scant isolation.

But the survivors bond in an abandoned rocket field and earnestly learn from Terr's technology, hoping to escape to a clandestine moon upon which they will be free from vile traag tyranny.

Education proves vital indeed and soon a less dependent state of affairs emerges.

As ingenious pedagogical applications redefine ancient endemic balances.

The parallels with our cherished home planet should not be dismissed or even overlooked, as billions of animals spend their entire lives in cages awaiting to be served up as food.

The industry could be much more humane and if meat consumption decreases we could stop global warming.

Unfortunately, pigs and cows can't read.

But there are still millions of humanoids who support them. 

X-Men: Apocalypse

Entombed omniscience, eternally incarcerated in nocturnal necromance, once unparalleled god of an ancient world, tyrannical and ostentatious in luminous immortality, guarded by 4 devoted soldiers living and dying at his command, dedicated to ruling with neither compromise nor exception, suddenly unearthed by a clandestine Egyptian cult, to demonically deconstruct the flourishing postmodern world.

Auspicious ascension.

Consummate destruction.

The world is blanketed in relative calm as those with pseudosupernatural powers and their hardworking compatriots have learned to live peaceful lives, Magneto (Michael Fassbender) even having found a day job and wife, Professor X (James McAvoy) competently facilitating education.

But the extraordinary are still plagued by bigoted misunderstandings, forced to fight to the death or perform parlour tricks, and as Apocalypse (Oscar Isaac) begins to rise he quickly finds enthusiastic neophytes.

To unleash a new world order.

The X-Men standing in his way.

X-Men: Apocalypse recasts the franchise, reintroducing favourite characters to the alternative timeline while ensuring traditional rivalries and romances ignite anew.

Too much time may have been spent exploring these traditions, Professor X and Magneto's everlasting polarity growing tiresome at points, future films perhaps expanding upon their routine dialogues, as they possibly explore alternative argumentative philosophies.

Relying heavily on what's transpired in the past, in the past, while laying the foundations to illuminate future irresistibilities, X-Men: Apocalypse isn't the best X-Men film but still delivers an exciting tale which encourages the development of its audience's better selves.

Things that initially seem strange or otherworldly can become as familiar as whatever it is you grew up thinking was natural and good, trying new things and having discussions with people from other cultures paving alternative avenues of inquiry with multidimensional crystalline curiosity.

Hopefully after last weekend's horrific tragedy in Orlando, people feel more willing to embrace less extreme world views.

You could live as long as Apocalypse and still encounter fresh perspectives to challenge your variable order of things with plump compelling intergalactic différence.

Without losing sight of where you come from.

Cross-referencing conversational data with research undertaken at your local universal library.

Where to Invade Next

Not as hard-hitting as some of Michael Moore's other documentaries, Where to Invade Next still reverberates with conscientious humble social democratic charm, as he invades Europe and Tunisia in search of reforms to bring back home.

He makes it clear early on that he's looking for flowers, not weeds, so the film generally overlooks postmodern day European civil unrest, to its advantage, its progressive assemblage of socioeconomic, sociopolitical, and sociocultural innovations blossoming within the cheeky comedic collage, modest comparisons with corresponding realities in the U.S understated in their unsettling disparities.

Some of the bewildering institutional civilities he shares include the lunch breaks and vacation times enjoyed by many Italian workers, the healthy options available daily at an average school cafeteria in France, conversations with the thrivingly productive German middle-class, interviews with facilitators of learning in Finland who have managed to create the world's no.1 educational system by eliminating homework, the accessibility of Slovenian higher education, differing attitudes regarding the treatment of convicts in Norway, the decriminalization of marijuana in Portugal, and the ways in which women are making significant and progressive impacts in Iceland and Tunisia.

He points out how Iceland prosecuted members of its financial sector after the 2008 crisis.

How the elimination of private schools brings people together throughout life by encouraging the growth of friendships between persons from different economic backgrounds by having them attend school with one another where they playfully learn that they're really not that different from an early age.

How the only financial institution in Iceland to survive the economic crisis was run by women.

How Italian managers and owners don't mind paying their workers more because they care about the health and quality of their lives.

How German workers often make up significant portions of German boards of directors because their culture recognizes the impacts workers make and genuinely respects them as a humanistic economic competence.

How Norway took the punishment out of its rehabilitation centres (prisons) to teach its inmates how to live a respectable life rather than resolutely humiliating them for living a problematic one.

After viewing a film about rehabilitative techniques years ago, and trying to understand why a culture wouldn't punish violent criminals severely, it occurred to me that if you live a desperate life, surrounded by desperate people who can't find good jobs and have been scraping by living meagre paycheque to paycheque for years, pissed-off because they never get anywhere, filled with anger, while watching images of how wonderful it is to be wealthy on television and in films regularly, that violence becomes normal, that if you've never known calm or respect of friendship and you have to push back all the time to avoid being abused, then a criminal justice system that serves to punish you severely if your actions become criminal only serves to replicate the miserable situation you were pushing back against to begin with, replaying the role of the oppressor, and one which suddenly treats you with respect, teaches you to be calm, respectful, and to make friends, does a better job at preparing you to be civil, a break from the ubiquitous bedlam, especially if society doesn't dismissively exclude you after your release.

And takes steps to reduce the poverty that creates such desperation by sincerely caring for its fellow citizens as part of its civil responsibilities.

One of my favourite features from Where to Invade Next is Moore's interview style, his questions, where he warmly asks various people from different countries where their cultures came up with the ideas for their reforms and they continuously answer, the United States of America.

The United States is therefore making Europe and Tunisia much nicer places to live, where people aren't excluded for having a conscience and can enjoy a productive work/life balance.

Perhaps it's time, as Moore consistently suggests, to bring some of these ideas back home?

Donald Trump will not bring these ideas home; it's superhighly doubtful anyways.

His public persona has been crafted by firing people, he's openly racist, has no political experience, and reacts abrasively to criticism.

Is this the person you want controlling the world's largest military?

No, no it is not.

Hillary Clinton or Bernie Sanders will also fight ISIL and make terrorists pay.

They'll also likely take steps to truly make the United States the greatest country in the world again, the country Michael Moore hopes it can be, a great country for someone from any cultural background, a great country, for everyone.

You shouldn't have to be excessively wealthy to have a voice, to take a vacation, to speak freely, if you live in a democratic country that values human rights.

Thinking as in individual is important. It's important to develop your own specific way of living to gain inner-strength and learn to confidently express yourself.

But thinking as a member of a group is important as well. If you truly want reform, if you want to bring the things Michael Moore presents in Where to Invade Next back home to the United States, you need to think collectively and take collective action.

A collective composed of strong individuals can achieve great things with someone like Hillary Clinton or Bernie Sanders at the helm.

High-paying jobs and 40 hour work weeks are not bad things. Having more time to spend with your family is not a bad thing. Vacation time to relax during the Summer is wonderful. Atmospheres of mutual respect promote well-being.

In the greatest country in the world, these things should be omnipresent, these things, should be everywhere, not simply reserved for an exclusive elite, some of whom oddly don't care about the plight of their fellow citizens, but readily available for each and every American.

Why not seek to enjoy your life outside of work, even at work, when a working day isn't that serious?

Why be at each other's throats constantly?

That's no way to individually live.

That's no way to collectively progress.

You do have to work hard at work, your company has to turn a profit.

But when 95% of that profit is shared with 4% of the workforce, that's odd.

Especially as the cost of living increases.

Love Michael Moore's films; hope we don't have to wait 6 years for the next one.

He really does care you know.

As do Hillary Clinton and Bernie Sanders.

Ai to Makoto (For Love's Sake) (Fantasia Fest 2012)

Presenting a comic romantic over-the-top ultraviolent musical, wherein bourgeois values resolutely seek to pacify a versatile tumultuous rogue, the undying and overpowering intensity of love unwaveringly guiding their reformative resolve, streetwise unconditional consistent combative tenacity governing his, Takashi Miike's Ai to Makoto (For Love's Sake) does not refrain from elaborately executing every consummate class cliché ever created, sensationally synthesizing quixotic and hardboiled extremes, relentlessly reproducing unerringly awkward amorously explosive motifs, in the implacable pursuit, of emancipated co-dependence.

Group dynamics repetitively insist that young Makoto Taiga (Satoshi Tsumabuki) obediently pay his respects, but as their challenges are uniformly discombobulated, his limitless disenfranchised individuality, and consequent unwittingly seductive magnetism, remain intact.

Attaching a monetary value to the ability to maintain specific ideological viewpoints, while catastrophically choreographing their constructive affects, Ai to Makoto pugnaciously parodies the domain of rehabilitative reckoning, while chaotically kitschifying the practice of revenge.

For love's sake.

The First Grader

Post-colonial Kenya. A public education system is introduced. Free education for all is announced. The vast majority of new students are children.

But one 84-year old former member of the Mau Mau resistance who fought against the British seeks an education as well. Determined to learn how to read and write in order to have a better understanding of his surrounding worlds, and read for himself what is written in a letter he received from the government, he stubbornly adheres to the rules when his initial attempts to gain access are rebuked, and is eventually given admittance to an overcrowded rural classroom.

Kimani N'gan'ga Maruge (Oliver Litondo) becomes a peculiar presence at school but one whom facilitator of learning Jane Obinchu (Naomie Harris) finds endearing. The administration does not share Jane's sentiments and consistently reminds her that by 'everyone' the government means 'every child' and that they already do not have the resources to teach every child and would be incomprehensibly overwhelmed if every adult sought a free education from grade 1 onwards as well. Their statistical analysis coalesces with the community's jealous censure of Maruge's activities to make life exceedingly difficult for both teacher and learner.

But they endure.

Justin Chadwick's The First Grader is a powerful film that demonstrates the enormous benefits that can result from exceptions, or, in this case, literal applications, when the practical ethical results outweigh the economic forecasts. Obviously with scant resources at their disposal a Department of Education would be unable to educate every illiterate citizen right off the bat, let alone every child, but seeing how only an extremely small percentage of such citizens over the age of 20 would choose to be educated with children, why not make an exception for those who do, instead of blindly upholding a rigid principle?

Taxation is at the heart of the matter and the question of whether or not you want to pay higher taxes in order to ensure your children/relatives/friends/neighbours mature in a dynamic learning environment fully equipped with engaging professionals and resources (the same ones provided for students of private schools) that vigorously nurture and develop their gifts?

Maruge's gifts are nurtured and developed and he has a positive influence on his fellow classmates as well. His struggle to learn functions as a prominent example of someone courageously seeking to receive the same remarkable educational opportunities that many people in Western countries simply take for granted.

Amarcord

As winds of change passionately breathe throughout the Italian countryside, and tectonic ships coast through the night, poetic reflections and familial festivities emancipate a repressed human factor whose vivacious spirit refuses to yield. Energetic youthful explorations generate blossoming warm and friendly observations whose flowering imaginings revitalize local traditions.

There are stories to be told as the seasons change and life challenges a predetermined institutional categorization. Playful scenes rich in vivid detail, capturing mischievous movements and inquisitive motivations, flourish.

Refusing to be tied down by the stereotypical attitudes condescendingly applied to their professions by a disdainful elitist few, hard working people continue to create and theorize within a stifling draconian body politic.

They inhabit a colourful filmscape full of inclusive change, verdant and robust, supporting the marginalized and the downtrodden, beyond the reach of any imperial entanglements, nurturing, caring and looking after one another, freely sharing their nourishing information.

And they dream and evaluate, consider and wonder. Hypothesize, romanticize, familiarize, thunder. Knowing that really nothing else can be done, if one wants to live fully cloaked in the sun.

The vignettes in Federico Fellini's Amarcord synergize a wrinkle in time, refusing to let autocratic realities structure their lives if their lives want nothing to do with autocratic realities.