Showing posts with label Hostage Negotiations. Show all posts
Showing posts with label Hostage Negotiations. Show all posts

Friday, March 25, 2022

Inside Man

A detective gets his shot since he's the only one around when the call comes in (Denzel Washington), his captain less willing to throw work his way after a recent erroneous routine rupture.

But a bank's being robbed and they want to negotiate the robbers taking their forbidden time, many hostages struggling nerve-wracked within, a smooth flowing exchange stretched out stressed suspicion.

Meanwhile, the bank's agéd owner (Christopher Plummer) hires an alternative negotiating team (Jodie Foster), to recover an ancient safety deposit box he's worried the thieves have set in their sights.

She exists in the theoretical ether wherein which higher-ups employ extreme discretion, to tidy up raunchy embarrassing mishaps, or in this lofty case, World War II profiteering.

The detective doesn't like it when she shows up with answers to questions he wasn't considering, but the communicative green light is still freely given and soon it seems the bank owner's fears weren't that off base.

Afterwards, chaos ensues, with emboldened predicaments furtively enabling, the concealment of the hypothetical thieves whose plutocratic endeavours indeed prove fruitful. 

The detective still needs to piece things together with precocious puzzling and reasonable riffs.

Interviews discourse entanglements hyperbole.

Thoroughly reckoned with guttural instinct.

A cool suave exoteric rigamarole effortlessly enriches voltaic vehemence, as the opposite ends of Inside Man's investigative continuums cohort and calumnize courtly contusions.

Critically clasped clandestine camaraderie sincerely conversing cross calculi composites, war profiteering is reckless abuse of a world controlled by volatile wickedness. 

I haven't seen any recent related articles covering political condemnations of war profiteering in Ukraine, but you would think some bureaucrat would have thought up something to passionately critique it in the last couple of weeks. 

Many business have pulled out of Russia and I imagine sanctions are making routine life difficult in the massive country, but weeks into the brutal conflict and it's still raging with destructive frenzy.

If businesses and individuals are profiting from Russia's continued vicious bombardment, it would be nice to know they'll be held accountable with sincere constricting jurisprudent venom.

How to monitor myriad factors multidimensionally mired in mad malfeasance, is hopefully being taken care of at the maniacal moment with exceptional haste and sentient synergies. 

Saturday, January 25, 2014

Captain Phillips

Different worlds collide in Paul Greengrass's objective Captain Phillips, one wherein multiple possibilities exist yet the competition to obtain them is intense, the other, qualified by extremely limited options, life threatening and treacherous, suffocatingly sane.

Captain Richard Phillips (Tom Hanks) rose through the ranks according to a different historical set of his world's cultural economic indicators, which he describes early on during a conversation with his wife (Catherine Keener as Andrea Phillips).

Muse (Barkhad Abdi) then appears in present-day Somalia, a person competing as Phillips had in his youth, but within a market in which standing-out requires fire power, and impacts are made through violent confrontation.

The film doesn't judge.

Both Phillips and Muse have jobs to do and they do them.

Phillips's probing hard-hitting questions boldly challenge the ways in which Muse earns his living, but Muse competently defends his volatile endeavours, redefining impoverishment in the process.

Neither of them concedes.

Neither of them backs down.

The film's a realistic open-minded level-headed examination of how individuals from different nations go about putting food on the table.

Muse does what he can to be Captain Phillips.

Captain Phillips offers constructive recourse.