Dune

It's a shame Dune ended up being a negative experience for David Lynch. Some of it's very well done. I still love watching it year after year.

Some of the heavier action sequences like when the Harkonnens attack Arrakis or the sandworm battle at the end, don't fare as well as those that you find in Star Wars or Star Trek, and a lot of movie goers tend to focus on those transitions which are often filled with nail-biting excitement.

It would be nice to watch a copy without the consistent inner-character monologues as well, too bad it wasn't as huge as Blade Runner and such an alternative was never released.

Nonetheless, in classic Lynchean style the scenes with the villains still seriously impress, especially the introduction of the Harkonnens which I would argue is some of Lynch's best work.

It's grotesque and terrifying and over-the-top and the attention to detail is so immaculate, along with the chilling production design all focused around Kenneth McMillan's performance. 

I've seen him show up in other films where he didn't have a serious role, in Dune he steals the show though, alongside many prominent actors.

Lynch also thrillingly excelled with his less psychotic sublime nobility, notably during the scenes with Dr. Kynes when they head out to look over spice production. 

When Duke Leto demonstrates that he truly cares for the integral lives of his working people, it's a powerful moment that evocatively captures the democratic spirit of the times.

Kyle MacLachlan has his moments too as does Patrick Stewart, Siân Phillips, Francesca Annis, and Brad Dourif, in interviews I've seen with actors Lynch worked with the genuine admiration clearly shines through.

If you want to see Lynch the editor at work you should compare the theatrical version to the full-length feature, the excessively long studio-cut version that he had his name removed from.

It is much much much worse and you can see Lynch's genius in full swing, when you watch his director's cut and see how he saved so many scenes.

With strong performances, a complex plot, an intricate unique production design, along with his trademark wicked villainy, Lynch's version still impresses.

Denis Villeneuve's films are remarkably well done too and I hope he gets the next Star Wars franchise.

I hope they stick with one director for the entire run.

He's a contemporary sci-fi master. 

Yojimbo

A small town in the Japanese countryside embraces bleak internal conflict, as a local chieftain compassionately decides to give his business to his only son.

Such a traditional act cumbersomely enrages his right-hand man, who spent his life helping him build up the business and in turn expected to take over one day.

Unable to reach an agreement they furiously square off with uncompromising angst, then slowly chip away at each other's forces while desperately seeking a lasting advantage. 

When a grouchy itinerant samurai suddenly shows up within their village, curious to see what's going on yet hesitant to actively engage.

He eventually tries to side with one family (out of boredom) but then overhears a secret plot to murder him, which doesn't drive him to the other side but leaves him suspicious and self-absorbed. 

After conducting more hands-on research he has to admit the town's a mess, and even if he likes to cause lay mischief he still remains a conscientious man. 

That conscious soon put to the test when he learns of a family turn asunder.

Deciding to champion their holistic freedom.

He helps them escape only to be captured. 

A bizarre sympathetic embattled examination of a cunning jaded world-weary warrior, Yojimbo showcases immutable strength awkwardly juxtaposed with belligerent caution.

It's fun to watch as the brilliant samurai cleverly predicts what's going to happen, going over the different scenarios in his head as he makes decisions he'd rather ignore. 

Imagine a time long before the advent of automatic weapons when there was still honour in fighting, and it was dangerous to challenge the most-skilled who had been well-trained in swords and strategy.

But what a useless life for many who were hired to amass a chaotic gang, and lived only to fight in battles they couldn't win when corrupt overlords acquired them.

Emancipating the feminine and taking their viewpoints into active counsel with honest intent, can lead to a world more dynamically structured with other alternatives than organized combat.

So much of the world seems to have done this although in so doing some were left behind.

Who recklessly seek the old bellicose ways.

As long as they never have to do any fighting.

Rosaline

Agile independence forthrightly attuned to romantic longing, haplessly falls for a gifted poet intuitively enamoured with fiery discipline. 

Her father desperately seeks someone for her to wed at the same time however, arranged marriages still diplomatically sought at that time in Europe and elsewhere.

Rosaline chooses to marry for love and pines obsessively for the legendary Romeo, not making things easy for him at times, yet still compulsively coveting his distinct verse.

A potential suitor arrives one day whom her father objectively approves of, and they head out in his seductive boat to challenge the sea with nautical bravado.

The suitor tries his best to valiantly please her but is wholeheartedly forsaken, her heart belonging to ye olde Romeo who has thus far requited her advances. 

Rain suddenly descends in torrential buckets thereby delaying their return home, an enchanting masquerade ball ethereally awaiting that includes the coveted Shakespearian in attendance.

Rosaline indeed arrives too late but not after her cousin Juliet has been formerly introduced. 

Romeo having fallen for her indivisibly. 

Encouraging bitter fury enraged!

Love seeing comedic reimaginings of classic tales continuously told, with new characters and emboldened situations absurdly redefining stray narrative elements.

Romeo doesn't mean to be a cad he just accidentally finds himself playing the role, his honest unattached unbetrothed feelings awkwardly lamented throughout the movie. 

Patient Dario steals the show with his courageous resolve and humble cunning, embracing Rosaline's chaotic feelings with resourceful energy and lithe accommodation. 

How Romeo could have overlooked her immaculate bearing inherently overflowing with genuine artistry, her very existence each elegant breath a slow motion incarnate natural wonder.

Alas, in that natural possession of what many desire to stunningly diversify, the majority find her too incredible to risk their cherished sanity through bold proposal. 

I thought the film was for the young ones but mom assures me it was far too mature.

Alternative takes, imposing reanimation.

If you're still interested in that kind of thing. 

Our Hospitality

Age old insuperable intransigence malignantly motivates unforgiving distemper, a feud established so long ago no one knows why it began in the first place.

Over the years, as stubbornness seethed, convivial enterprise vigorously adapted, and widespread prosperity and temperate goodwill socioculturally spread across the fruitful land.

But not before two inconsolable brouhahas inscrupulously dealt each other fatal blows, their families left to struggle without fathers at a time when few theoretically remarried.

The one child is sent far away to be industriously raised in an oblivious city, wherein which the disillusioning feud no longer holds insalubrious sway.

He learns the subtle and occasionally rambunctious urbane arts of metropolitan life, blissfully unaware of the agéd imbroglio still unctuously upheld by brooding strangers.

It's really just one person cantankerously clinging to tradition best forgotten, the world having changed and diversified everywhere else leaving the children he cares for judiciously unconcerned.

They still want to please their family and abide by old school oligarchic orthodoxies, but they're close to asking themselves why bother? when we can take the train to Cleveland!

After learning of his enticing inheritance Willie McKay (Buster Keaton) returns to his family's domain, completely unaware of the histrionics that once cruelly governed their active degeneration. 

Unfortunately, his malcontent rivals still hold fast to the disenchanting dispute.

Even though their sister's invited him to dinner.

And he soon comes calling inquisitive resolute.

Honesty and integrity must still reverberate within consistently shifting sociopolitical sentiments, as if tawdry banal disingenuous cynicism has yet to overwhelm pleasant endeavour worldwide.

Why hold on to the carnal irreconcilability as it lays waste to generous collective innocence, cultivating a nation of vicious wolves with nothing to feed on but each other?

Note the habitual contentment of endemic zebree and industrious thriving aloof water buffalo, who agreeably eat various plants and efficiently prosper with genuine bemused sincerity. 

The animals who prey upon them strike primarily at the young and old as well as the weak and the infirm, why is such behaviour honourably regarded, is it not intensely revolting?

In a complex film still remarkably relevant Buster Keaton challenges grievous prejudice, and finds an hospitable amorous alternative upon metamorphosing Victorian currents.

Incredible how well each intricate scene is multidimensionally and playfully constructed.

Still an effective way to tell stories.

Such a shame, the warlike reemergence. 

Klaus

A new recruit to the national postal service lounges in august pamper, unconcerned with military discipline since he's related to the big kahuna.

Yet his antics have inspired contempt within the stilted command structure, which decides to test his mettle through expeditious transfer.

His assignment's the worst available far off and inhospitable, the townsfolk feuding in bleak decay and none too fond of light or merriment.

His initial attempts to establish a post office are theatrically rebuffed, the inhabitants more concerned with enraging representatives of opposing clans.

The teacher's given up and transformed her school into a fish market, and what used to pass for casual conversation is now infused with bland mistrust.

The children are quite downcast with grim ill-will stunting their growth, animosity they fail to comprehend since its plain and simply much too childish.

But the new mailperson discovers an address remotely situated within the forest, and decides to venture forth to nurture friendly relations.

At first the man seems grumpy disinclined to welcome guests, but as time passes a soft heart emerges once attuned to jokes and jests.

It turns out he's a skilled toymaker who's never found a clientele, to thoroughly enjoy his effervescent nifty swell.

A team is forged through bright goodwill endemic conflict notwithstanding, to joyously illuminate mirth laughter playful planning.

Something much less supernatural yet adventurously fated, to bring about consoling clout luminosity backdated.

Well put together patient strands unified with daring poise, to storytell through quench and quell enduring corduroy.

A turn around fulfillment found the sprightly communal favour, year after year enriching cheer this Klaus emits sun savour.

More for kids yet still unbid still cordially composed, its depths dispersed its clefts expertly animating growth.

Who knows perhaps through spits and spats this film could bring together, antipodes wildly opposed destructive feudal feathers.

At least at Christmas there's no need for postures left or right, non-denominational goodwill persisting light.

Could be that way no need to bray the future's neverending.

Old school lame polemics tamed diplomacy a' trending.  

The Etruscan Smile

Stubborn differences of opinion lead to a prolonged estrangement before a father embraces diplomacy in the grouchy Etruscan Smile.

Practically nothing could ever convince Rory MacNeil (Brian Cox) to leave his remote island home, but local doctors can't diagnose what ails him, and recommend he seek medical advice abroad.

His son Ian (JJ Feild) lives in San Francisco, across the pond in another dimension, with his wife Emily (Thora Birch) and infant son, where he pursues the culinary arts.

Rory's happy to meet his grandchild but isn't hip to new age parenting, or anything that doesn't snuggly fit within a rigid conception of manhood.

His son is moderately successful as is his resourceful wife, his father-in-law (Treat Williams as Frank Barron) offering him the opportunity to open his own chill restaurant.

But in order to so he must compromise, his newfound freedom clad in obedience, contesting tried and true dependable methods, which are highly suspicious of unheralded novelty.

His father is none too impressed with the deals that have to be made, and expresses himself to the contentious contrary, their age old argument flaring up, even after so many lost years.

Sometimes a simpler approach can clarify things or perhaps even save years of time, complicated procedures and multiple-egos standing in the way of unprecedented conception.

The Etruscan Smile celebrates direct communication within a prescriptive environment, all the while asking, "who's more uptight?", to generate critical sufferance.

Bucolic candour playfully contends as politesse loses its joyful direction, urban characters finding Rory endearing, since he isn't racist or vulgar or violent.

It's an innocent freespirited look at sharp alternatives begrudgingly blended, reminding peeps not to forget their roots, even in the midst of intense abstraction.

I don't know, if someone's willing to finance your own restaurant, you'd think you'd compromise a bit on the menu, until such a time as it's turning a profit, after which you could add unique spices.

But where to draw the line on compromise?, that's a tricky business.

I imagine success is more rewarding if you do things your own way, but how do you ever accomplish anything working on your own?

Rory never left his isolated island. Where he owned property and never had to change.

Where going to the pub sufficed.

And nothing passed by unnoticed.

His adventure to San Francisco is still enlivening and full of pluck, an elevation of blunt distinction that doesn't come across as reckless.

Too reckless. 😌

If unfiltered wild rapscallions can adjust so can upscale pride.

But they both have to be willing to adjust.

Perhaps Biden can make it happen.

With Rosanna Arquette (Claudia), Peter Coyote (the Professor), and Tim Matheson (Weiss).

A bit farfetched.

But held together well.