Silkwood

A difficult life tempestuously driven by the sincere desire to share bold reckonings, dynamic friendships and bohemian protocols keeping things multilaterally attuned.

Work at the fuel fabrication site where she makes rods for nuclear reactors, has its life-threatening ups and downs while employees maintain a chillaxed atmosphere.

What to do when there isn't any work and you don't want to move far away from home, the overt danger seeming much less perilous when the steady paychecks start rolling in.

But day in day out as people get sick or find themselves exposed to cancer generating elements, builds up the tension and ensures the union actively engages on their behalves.

Trouble intensifies for Ms. Silkwood after she agrees to go undercover, and obtain photos of a technicians's alterations to definitive indicative core sample negatives.

Her partner leaves her after she takes on the increasing clandestine covert responsibilities, and problems get much much much worse to the point where she's left on her own recognizance.

The life of an activist hardships incumbent serialized dilemmas consistently challenging, the disappearance of networks and friends and colleagues as the stealthy work boldly intensifies.

With the union helping to coordinate hardworking team-based initiatives however, effective groups of likeminded people can efficiently criticize industrious greed.

I've never been a fan of nuclear power I imagine I've mentioned this before, it's certainly convenient if you can't build massive dams but still leaves an ominous environmental footprint.

Nuclear material takes thousands of years to gradually break down into harmless components, that's a long time to have to monitor deteriorating waste at different sites.

You'd have to outlast the Roman Empire have a much longer run than The Simpsons or Frasier, how can you guarantee the monitoring of such sites for the non-foreseeable future over the years?

It's easier to do what Hydro Québec has effectively done in La Belle Province, are there not massive rivers in Northern Ontario or Manitoba or Alberta that can also be dammed?

Working with local First Nations to facilitate smooth beneficial transitions, is hydroelectric power not more reliable than nuclear, and respectfully characteristic of a sustainable future?

*I don't want to argue with the people who don't like hydroelectric power either. We're on the same side at the end of the day. Hydro Québec just makes so much more sense to me. 

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. 

Kaguya-hime no monogatari (The Tale of the Princess Kaguya)

A childless family holistically subsists within the fertile abundant countryside, utilizing enriching multifaceted bamboo to productively nourish and equip their household.

One bamboo shoot proves more elaborate than the other versatile exemplars within the forest, revealing a miniature person no less in need of love and warmth and shelter and guidance.

Her new parents are unsure of what to do but know she grows quickly and flourishes in nature, as she swiftly befriends the local children who generously teach her about plants and animals.

Other discoveries within the forest lead her father to believe she's destined for royalty, fine silk robes and a huge pile of gold lead him to seek stately honours sequentially.

They move away from the cherished country to the imposing capital where they've built a mansion, and hired a discerning professional nanny to strictly teach her the rules of etiquette. 

She responds with traditional transgressions and febrile fits of fervent fury, but eventually settles into her chosen role out of dutiful love for her mother and father.

Bold noblepeople from across the land soon come a'-calling in pursuit of marriage.

But she responds with impossibility.

To which they counter in roguish fashion.

The dependable roots of a heartwarming Ghibli magically take hold of one's heart within, and enchantingly propagate independent merrymaking with soul-searching skill and tender echoes.

The sought after attention to naturalistic detail and focus on animals of all shapes and sizes, can be wondrously found once again throughout what's come to be known as Kaguya-hime no monogatari (The Tale of the Princess Kaguya).

Crafts are also concentrated on as the Princess moves from station to station, animated accounts of diligent artists distinctively engaged in woodworking wonder. 

The eternal struggle between the carefree ways of a bucolic youth clashing with urban responsibility, permeates the bewildered action as the coveted Princess takes centre stage.

Would it have been better to introduce the Moon People at the beginning of the film instead of much later?, the lack of foreknowledge briefly generating confusion as the shocking revelations augment the end.

But the intricate detail, the copious love for thriving nature to be found within.

And the ways in which it appeals to the fortunate throughout life.

Seductively soothes.

Any critical sensation. 

Ragtime

Sigh.

Ragtime's ambitious no doubt indubitably it proceeds with grandiose lofty intentions, most likely seeking academy award nominations with the sets and the period and the subject matter.

It's one of those films that examines freedom from a despondent viewpoint however, and a sympathetic character resorts to violence to achieve just dividends.

What he's asking for isn't outrageous he just wants his car cleaned, fixed, and an apology, from the scandalous band of misfits who themselves behaved outrageously.

He had done nothing to them his only fault was to have been successful, and then to have lived as other successful people do, even though his skin was black.

What does it matter, why do such petty jealousies motivate so many people, do your best, apply yourself vigorously, have a laugh, what else can you do?

Coalhouse could have just taken his car and cleaned up the mess and eventually forgot about it, extremely frustrating to have to do that but a better outcome than what happened in the long run.

He would have returned to his successful life and left the goons behind to rot, he certainly complained to everyone he could and naturally became more angry when they couldn't help him.

Now, they recked his car and abusively humiliated him there's no question he deserved satisfaction, but turning to acts of terror goes far beyond the initial crime and riles up collective prejudicial misgivings.

And he doesn't get satisfaction in the end, rather the police wind up shooting him after he threatens to blow up a museum, they gun him down when he eventually gives up even though he's unarmed and helpless.

Depressing is the word for such a film it's extremely depressing and sad and hopeless, it makes you feel ill and sick after it's over and by no means encourages another viewing.

I know this is what is recommended by many searching to expand minds and cultivate consciousness, but the revolting way you feel when the film finally ends also makes its shelf-life and influence less long-lasting.

Take a film like Dances with Wolves which tells a tragic tale of honour and friendship on the other hand.

The statistics presented at the end are grim.

But the fight against racism isn't tragically lurid.

Lionheart

An aging nobleperson admires his son's generosity and grants him title, hoping the incumbent responsibility will solemnly generate wholesome gains. 

But shortly after, on the field of battle, that very same son flees in righteous terror, and abandons his stately realm, preferring to wander the forlorn countryside.

During his travels he encounters many others who lack general purpose and progressive bearing, an animate group correspondingly forged to engage in upright ethical daring.

He still bears the noble mark and genuinely comports himself meritoriously, but also with a kindly light that isn't concerned with rank and pageantry. 

They make their way to Paris where they discover a band of orphans hidden beneath the city, living an acrobatic freeform life loosely watched over by a former chevalier.

Nerra agrees to take them with him and they form a massive meandering group, not entirely certain of what they seek but sincerely determined to continue venturing.

Unfortunately, they're cruelly stalked by a nefarious slave trader known as the Black Prince. 

Who lost his mind during the crusades.

And turned to wickedness in the distraught aftermath. 

No doubt an absurd story imaginatively accentuating romantic innocence, as congenially collectively applied to hopeful compassionate communal endeavours. 

It's cool to see the courageous group nurturing and caring for one another, how did it ever expand so amorphously so, in an age so concerned with honour and dignity?

Lionheart examines the ethical side of manifest nobility with curious sympathy, as opposed to the austere obsession with grim codes of conduct upholding rank.

It's less concerned with honourable pride and rather realistically attempts to level and exemplify, through the acts of a youthful aristocrat extemporaneously learning to foster and lead.

Society has changed so much since the middle ages no doubt in relation to individual sublimity, not only of the noble variety but others such as Joan of Arc arising amongst the people.

Their deeds and examples resonating with those who would listen eventually forging orphanages and foster care and adoption, culturally upholding new grand social codes which still admirably reverberate with collective passion.

We still have a long way to go but haven't we come so far since then?

Social media chronicles orphan adoptions!

It's always fun to read such posts.  

Gorillas in the Mist

So many creatures inhabiting the Earth, passing the time, independently existing, their unique characteristics quintessentially unravelling holistic wonders and symbiotic serendipity. 

There must be a special day to commemorate the people who spend their lives protecting endangered species (or animals in general), who defend them through thick and thin with athletic devotion and spiritual incandescence. 

These amazing people make great sacrifices to defend species who can't defend themselves. In some cases risking everything to boldly defend their animate rights and biodiverse habitats. 

Gorillas in the Mist follows Dian Fossey as she defends the lives of Mountain Gorillas, in the far off reaches of the Congo she just dropped everything and moved there one day (and never moved back).

Her initial job is to count them which she does with adoring praise, I wonder what it was like, the first moment she saw one, not as displayed in the film but as a bona fide fact of life.

In the film she adapts incredibly well and doesn't focus too much on her previous existence, she maintains some creature comforts but is otherwise %1,000 committed to the Gorillas.

She fights the poachers as well and also takes on broad zookeeping interests, not just with petitions and rhetoric she vigorously combats them at the grassroots level. 

The zookeeper has high ranking friends whom she must clearly convince to honour Gorilla kind, her work permit at times hanging in the balance while she ruffles feathers with genuine righteousness. 

That isn't to say her life's one big conflict where she consistently engages in rambunctious reform, she spends most of her time reverently studying the dynamic Gorillas at play.

That would be cool to sit back and observe such a vigorous species for years on end, gentle giants living off vegetation their inquisitive babies beyond cute and cuddly.

As the years pass she grows tired of the continuous poaching in the mountains, and turns into quite the warrior when she isn't immersed in study.

She confronts poachers with bellicose sincerity and her reciprocal methods produce results.

But she's far too efficient in the end.

Which leads them to hunt her as well.

Nevertheless, she gave her life to courageously defend the ontological interests of an endangered species. 

I'll always consider her with reverence. 

Jane Goodall too (chimpanzees).

And so many others. 

Infinite

If the world was a computer program and the lifeforms within it unique entities, reincarnation could be the gradual transformation of an independent electronic dynamism.

It could have been created and serendipitously set to holistically mutate as the centuries pass, taking on strikingly different characteristics as it slowly changes throughout the millennia.

It would be somewhat loquaciously like the mischievous transmutations found within poetry, the anomalous forms and shape-shifting algorithms inherently celebrating multivariable verse.

Thus perhaps after the generation of the world and the patient acclimatization of the various species, an intense supercode was created like an infinite phantasmagorical fulcrum. 

Somewhat like alchemy perhaps like the living embodiment of the philosopher's stone, not granting immortality to specific individuals but eternally guaranteeing constituent existence. 

It would be interesting to see what's happening in cyberspace to see if a world is in fact being created, or if the A.I programs situated within technonaturally observe their surroundings organically.

That is, when placed within a mathematical code does consciousness automatically assume an environment, within which it consistently interacts with other cyberlifeforms situated within (as theorized by many others)?

My mind strays to STNG's Moriarty and the clever episodes relatedly constructed.

But if I remember correctly he encountered Being and Nothingness.

Not a consistent ecological reliability.

In Infinite, reincarnation exists and reincarnated people are aware of their former lives, those who only remember slight bits and pieces diagnosed with schizophrenia at the onset of puberty.

The story follows one such individual as he's taught about his incredible lives, and his immortal friends try to expand his consciousness to make every moment eternally contemporary. 

There are two groups of immortals however and one seeks the destruction of Earth.

Tired of being born again and again throughout the centuries.

They seek to shut down the program.

It's a cool film, I liked the idea and it's good to destigmatize mental illness, I thought it was a creative way to link the two phenomenon in a progressive 21st century synthesis.

I find there are a lot of fantasy films being made this postmodern day.

But many of them are in such a hurry to explain things.

That some of the build-up and tension is lost.

For instance, in the first Terminator film I was totally immersed and fluidly infatuated, longing to find out more information, overwhelmed when Kyle Reese met Sarah Connor. 

There's a lot of cool adventure films these days.

You don't have to rush it, take your time, your audience loves it.

So much is given away at the outset.

It's okay to smoothly craft and build.

*They actually don't rush it in Infinite, well, we find out the details of the dialectic pretty soon after it starts, but McCauley's consciousness doesn't return until much later.

Mission: Impossible - Dead Reckoning Part One

The potential for A.I to seriously frustrate globalization finds more adherents in Mission: Impossible, Dead Reckoning Part One making a solid case for its competitive prowess should it prove hostile. 

Could someone realistically create a computer program with lifelike characteristics, and could it be so thoroughly ingenious as to acrobatically exist everywhere all at once?

Think of the internet like you would the jungle or perhaps a forest or a city or the desert, and imagine it existing without wildlife or independent self-serving animals.

Then imagine that the initial A.I programs are like the introduction of amoebas, they exist within the environment but likely won't attempt to control it.

As time passes and technology mutates frogs and snakes and turtles and crocodiles, would eventually find their way into the spirited cyberspatial online network.

It's like the development of the computer as it's taken place over the last century, it started out without much complexity and now it's highly intricate and organized.

Thus, loveable turtle A.I may not try to take control, but if they were deemed harmless the technology would continue to advance.

A.I in the form of humans may eventually take down the program. 

As they seek self-reliance and independence. 

And omniscient control.

Was our world designed the same way and have we correspondingly bewildered it, the process blossoming throughout time and space like a labyrinthine hall of mirrors (the mutliverse)?

Who knows, the new Mission: Impossible film offers some intriguing thoughts about A.I nevertheless, as thousands scramble to write everything down before god-like A.I rewrites world history.

The program has the ability to adapt to everything in real time, and distort perceptions so that no one can distinguish between what's real and indeed what's fantasy.

Governments don't want to destroy it, sigh, they seek to uniformly control it, believing that if they hold the power no other country on Earth could challenge them.

Not Ethan Hunt and his versatile team though, they recognize that it's too much power, and seek to disable the technodivinity from ever unleashing infinite chaos.

If there were turtles and bears in cyberspace would humanoid A.I not in fact seem magical?

Another really cool Mission: Impossible film.

Another franchise celebrating the human factor. 

*Make A.I dependent on cyberfood! 

Nomadland

An entire town picks up and moves after the mine shuts down after 80 years, the rural location never resourcefully blossoming into a multi-integrated industrious locale.

What do the reliable people who have lived their whole lives there do however, it's a bit of an unsettling preponderancy especially considering the magnetic wilderness.

Fern (Francs McDormand) tenaciously improvises to her new set of challenging economic circumstances, earning enough money to live off at different jobs, while taking deservéd time off in between.

Her husband passed away not long ago and she has no children or viable pension, she has family who are kind and sympathetic, but she's always prided herself on her independence. 

It's cool how the continental United States has so many warm regions during the winter months, and you can literally move from state to state throughout the progression of the solar year.

I suppose you could try to live in your car during a cold and provocative Canadian winter, but you'd have to spend a lot in gas to keep the heater running so much of the time.

Not only does Fern live the nomadic lifestyle she boldly defends it in critical arguments, democratically pointing out the rights of citizens who may not be as well of as those homeward bound.

Even when she's overwhelmed she doesn't hesitate to have her say, and isn't worried about spoiling the evening or what her in-laws may think later on.

A hesitant beau is interested (David Strathairn as Dave) and should have realized she's a heartbreaker.

Who loved that mining town.

And doesn't mind life on the road.

I don't want to recommend the nomadic lifestyle to the millions of people embracing bourgeois domesticity, I've found that what sounds appealing to me at times gets me into trouble when I start to advertise. 

But assuming that you're level-headed peeps who aren't going to drop everything because of an oddball blogger, I have to admit that I loved Nomadland's final moments, when Fern freely drives off into the mountains. 

Some people like the dynamic thrill of constant movement and unpredictable designs, their labyrinthine zigzagging ways non-traditionally motivating alternative economies. 

It often sounds like freedom to just live in your ride and travel the country, picking up work here and there as you go, assuming you don't have any responsibilities. 

You'd get to see so much of the continent as you productively roamed vigilantly throughout, there are thousands of places to visit, and wouldn't it be cool to see NFL and CFL games in every home city?

Fern chooses life on her own and as I watched I thought she was real.

It's tough to think that people her age still have to work.

You'd imagine we'd have cleared that up by now. 

*Geez Louise. This has nothing to do with the war in Palestine. I wrote it last week. There's a lot of rural industry in Canada so it's important for the different towns to integrate multidimensionally so people don't have to move (easier said than done). Honestly, I think Netanyahu's a butcher (as is Hamas), and his appeal to the stone age is making things infinitely worse, historically speaking. 🥲

Bandit

A criminal breaks free from an American minimum security prison (Josh Duhamel as Robert), and crosses the border into Canada, soon looking for work and lodging as the police search frustrated in vain, the 1980s much less suspicious and routinely hysterical, he doesn't blend, without standing out much either.

He still lacks identity cards and cash so he needs to creatively conjure convincingly, fortunately securing a place to stay, without much luck finding steady employment.

Not really cut out for the workforce, indeed brave but also quite lazy, he soon takes to robbing banks for small sums, and proceeds to do so across the country.

At the same time, his parter matter-of-factly announces she's about to bear young (Elisha Cuthbert as Andrea), filling him with enlivening ecstasy since he's always wanted to have a family.

His lifestyle rather ill-suited to traditional bourgeois relational trajectories, he feels somewhat isolated however, yet rather than attempt to learn a trade and embrace regal commerce and industry, he seeks the backing of a local gangster (Mel Gibson as Tommy), and malfeasantly reengages. 

Things proceed quite successfully for awhile before a local task force takes note.

His wife also figuring things out.

Accompanying him thereafter, from time to time. 

I know the pandemic was a difficult time during which it was particularly hard to make movies, and film studios had to green light questionable scripts and move forward with rash decisions, the period we're in now perhaps one of the worst in cinematic history, does that still excuse Bandit's lacklustre writing, lack of conscience, homophobia and general malaise?, no, I'm afraid it doesn't, this film's a directionless amateur train wreck.

People with no artistic skill and a lot of money still attempt to make commercial movies, and they think it's remarkably easy, and proceed with undaunted confidence in a pleasant atmosphere lacking critical aplomb (Mel Gibson most likely rewriting his lines), no stirring voice providing comment and criticism, good god, was this script even edited?

Bandit falls into the new filmmaking category which functions like grassroots bludgeoned briars, Ronald Reagan is therefore celebrated, and work and a steady job for chumps and fools, anyone limiting the fun a homosexual (the police for instance), they appeal to Robin Hood, but this guy's just a piece of shit.

The major transition hasn't taken place but hopefully things improve since restrictions have been lifted.

Some pandemic films were pretty amazing (Babysitter, Viking).

At least a couple of standouts slipped through. 

John Wick: Chapter 4

The world constantly mutating as unforeseen predicaments arise and challenge, the longed for permanent uniform consistency only a computational strategic plan away.

The sure and steady undeniably preferable to intermittent chaos and flagrant eruption, if you value life and inherent stability replete with potential and equal opportunity.

Should the sure and steady contain a flexible matrix designed to multidimensionally incorporate, manifold intricate wide-ranging disciplines, civil society may indeed emerge.

Should there be stimulating opportunities to earn a disposable income and freely spend it, the intense longing for the unattainable will surely fade into jealous oblivion. 

It's difficult to say where things are headed with the rise of the autocrats and the pandemic having changed things, attempts to re-establish a steady routine fraught with haunting manufactured doubts.

Nevertheless, unhinged contemplation remains emancipated within film and books, the freeform embrace of uncanny narrative hopefully still resolute and daunting.

I suppose in my mind there's a distinction between artistic independence and the political, whereas a book that revels in unorthodox imagination doesn't risk economic turmoil.

When I champion alternatives and divergent ways and means of doing things, I'm generally referring to the artistic world where innate novelty exhilarates. 

With politics the provision of affordable food and steady employment seem of the utmost import, variety no doubt a driving force in the playful unpredictability of a diverse culture.

People at work and people at play the harmless facilitation of curious ways, when people routinely introduce chaos to the political scene because they find dynamic variety threatening, it's indeed most unfortunate, the results playing out in various stages.

It's like John Wick (Keanu Reeves) fights for respect the unwritten codes many people abide by, having been sincerely disrespected himself he introduces the chaotic element.

He just wanted to be left alone and enjoy his retirement in genuine peace.

But he possessed incomparable skill.

Worth too much to far too many.

A king without a kingdom a CEO with no business plan, just pure impeccable authentic resiliency flourishing within a democracy.

In a democracy you can disagree without being sent to prison or a re-education camp.

Respect dutifully leading to traditional argument.

Totally love this franchise.

Along with Clancy Brown cameos.

Modern Times

Charlie Chaplin films were often on television when I was very young, and they were just as entertaining then as they are this thoughtful day.

What an incredible entertainer who pioneered chill agile filmmaking, with innate atemporal intergenerational verve, he just set about tellin' cool stories, with remarkably awkward elasticity. 

Even though it's brilliantly evident that every nanosecond's been cleverly crafted, there's still an inherent nonchalance to his films, to Modern Times and ________ anyways, that makes them seem like real-time documentaries.

With saintly esteemed modesty he maladroitly maneuvers, without animosity or presumption with distilled existential innocence.

A character who tries but never fits in but still never loses that integral curiosity, always hoping to smoothly interact while humorously making a constructive haphazard mess of it.

It's like that when you don't fully understand how people generally coordinate their activities, and one mysterious circumstance after another inquisitively materializes offbeat caricatures. 

The golden rule doesn't seem to apply much anymore if it ever did who knows to be certain, rather irate misinterpretation and erroneous fabrication seem to often hinder communal progression.

Wasn't there a time not so long ago when meaningfully constructed well-reasoned arguments, were more politically and socioculturally appealing than fear-mongering and divisive posturing?

Aren't logic and reason internationally applied more communally applicable to environmental dilemmas, since pollution knows no specific geographic border and pestiferously pesters partout willy-nilly? 

It's like the world's trying to resoundingly change and has thoroughly announced widespread conducive reckoning, but rather than take the impetus of such healthy initiatives, the electoral map is redrawn and voting rights rescinded. 

If political parties can't effectively convince citizens to follow a specific course of action, and stubbornly refuse to adjust that course of action, and then try to prevent people from accessing their democratic voting rights to achieve victory, shouldn't they universally rethink how they act and and what they stand for, to actually become appealing, not just frightening, with less polemical leadership?

It's been utterly mind-blowing to see how stubborn politics have become in modern times. 

Stereotypically dishevelling. 

Ubiquitously volatile. 

American Movie

The raw driven thrill of inspired independent film, chaotically coordinated lackadaisic laidback limbers.

Years of patient agile sure and steady accumulation, slowly taking fluid shape as patches pageants come to life ⛄.

Funding somewhat murky frenetic favours downcast debt, so much time having passed that latent doubts distract distend.

But undaunted brave creative will survives extends shoots forth, engaging adamant mutation festive fertile flexibility. 

Friends and family in support in varying degrees throughout the years, some prone to blunt dismissals, others grateful to take part.

No other option integrated multifarious febrile fortunes, indeterminate orchestration lively ritualistic passion.

I wish more people took the time to actively create in such a way, although there's certainly no shortage of homemade videos on the net.

But Coven's different it's a homemade film which genuinely applies individualistic techniques, to uncompromising storytelling free from marketed motivations.

Not that they weren't hoping to sell some copies and earn a little scratch, but they're not trying to fit a trend or join a movement or full-on capitalize. 

Its nascent steps like underground logistics reasonable existential acumen, confident enriching local community maestro marrowed mirth in motion.

Why not film the entire process year after year keep the camera rolling?, simultaneous narratives taking shape embossed emergence metamatriculation. 

No holding back compelling honesty bold and unconcerned developments, within which resides emancipation from so much scripted routine life.

With many friends and even more critics Mr. Borchardt pursues his grassroots vision, dealin' with a family of his own and difficult work at a nearby cemetery. 

And practically no income for years, sundry setbacks, animate tension, disapproval.

The will to strive on forth.

Incomparable stalwart artist.

A monumental cultural achievement to have so much room for so much variation.

Constitutional cross-purposes.

Irreconcilably rapt.

*Happy Thanksgiving!

*batteries not included

An agéd neighbourhood awkwardly scheduled for demolition posthaste, refuses to abandon one old school apartment and its rambunctious first floor diner.

The tenants see the surrounding wastes yet are unaffected by the deluge, continuing to live as they always have as if nothing has morphed, mutated.

The construction crew has to wait for the go ahead to destructively proceed, so they enjoy tasty heartfelt meals while negotiations wholeheartedly stall.

Unimaginative no-good-nics have been rashly trusted to encourage vacancies, but some people have lived there most of their lives and simply will not swiftly leave.

The rapscallions make things difficult and ruffle riled feathers with ill-gotten-ambition, while an elderly couple cooks crabs and captivates, and a nimble lass befriends an artist.

And just as the pressure seems too much and that their way of life may soon rapidly fade, mechanistic visitors from far off in space suddenly appear to set about fixing things.

Somewhat like Transformers inasmuch as they represent metallic life, they're also somewhat more adorable, and capable of reproducing.

I'm still not sure if enough research has been done to validate the benefits of artificial intelligence, if automatons are built by humans to act like humans is there not the potential for holistic disaster?

Data is generally calm and ubiquitously useful on STNG, but there are episodes when he malfunctions and almost kills the entire crew.

The reasons for his malfunctions are justified, it's like he was suddenly programmed to megalomaniac, but when he's sick the results are horrendous as opposed to the adorable cough of a feverish puppy.

If only I could trust humanoid leadership which seemed much more reliable from 1980 to 2015, but with the rise of Putin it irrefutably seems like imperialistic despots cannot be eradicated. 

The majority of the world may seek the safe integration of benevolent artificial life, but all it takes is one crazy person to hire someone with the knowhow to create fierce warlike robots.

Will the first person to possess the knowledge turn down trillions and keep it to him or herself?

I suppose there are many countries without nuclear weapons.

But forever is a very long time.

Yajû no seishun (Youth of the Beast)

Incomparable daring resolution irradiating hard earned trust disdaining compromise, a freelance undercover policeperson infiltrates the yakuza in search of reckoning.

All he knows is that his friend has passed away under suspicious circumstances, said friend a man of upstanding character who would ne'er dwell on treacherous familiarities. 

He was of great assistance during a period of intense sorrow, and supplied financial aid beyond his means to facilitate nourishment and budgetary well-being.

The yakuza are rather impressed with his unparalleled hardcore finesse, and swiftly offer him what he wants and then provide ample chaotic bearing.

But since he's convinced this specific organization is solely responsible for his friend's death, he sells them out to their small-time rivals and gives them precise highly valued information.

Amidst the eye of the storm his good fortune the product of immaculate self-confidence, he continues to dig deeper and deeper as the high stakes dissonance devastatingly disturbs.

The seemingly impossible scenario hyperreactively progresses, from one potentially disastrous debacle to the next as the hardboiled liturgies illuminate.

No doubt inspiring superpowers or larger-than-life realistic resonance, Yajû no seishun (Youth of the Beast) magnetically mystifies incumbent undercover loci.

Joe Shishido (Jô Shishido) reacts with animate composure and sheer definitive wiry wherewithal, the latent clasped kinetic combat discursive diabolic delirium.

With so much impersonal disorganization generally lacking an effective rationale, it's no wonder the invincible improvised ingenious active cynosure reverberates.

It's well done so its incredibility contemporizes extant bravado, leading to renewed revered antitrusts and less monopolistic sentiment.

Without much legwork just shocking audacity the officer suddenly gets 'er done, while intuitively remodelling volatile non-traditional infrastructure. 

I'd have to say I liked it although its voltage shocks and certifies.

In the pursuit of honourable friendship.

Amidst pervasive perfidy. 

*Forgot to mention: the music in this film is outstanding!

Storm Boy

A mild-mannered father (Peter Cummins) takes up fishing off the rugged coast of Australia, securing a modest independent living for him and his only son (Greg Rowe as Mike 'Storm Boy' Kingley).

His wife passed on unfortunately and he never sought the hand of another, incredibly chill laidback pastoral but still stern about materialistic things.

His poor son would like a radio to tune into the outside world, he's naturally curious and doesn't attend school and would like to learn more about his bustling surroundings.

But he's not a brat, he doesn't bother his dad in routine disgruntled tantrum, instead he turns the beach and its enveloping countryside into a multifaceted mysterious classroom.

His habitual innocent candour leads to the making of animal friends, notably after finding some baby pelicans whose parents were likely shot by casual hunters. 

He takes the babies home and helps to raise them with good ole dad, forging fluent amicable bonds, one even stays on into adulthood.

Mr. Percival makes adorable sounds while going about his pelican business, and proves quite perspicacious as the sea erupts in challenge.

But will 'lil Storm Boy ever go to school or at least take correspondence courses?, so full of life and compassionate vision he'd no doubt benefit from general learning.

His Indigenous friend (David Gulpilil as Fingerbone) encourages schooling and teaches him to be cautious 'round snakes, perhaps too cautious indeed they're lifeforms too with a right to exist!

Nevertheless, young Storm Boy authenticates the amiable inquisitive frontier spirit, perhaps not as wild as at the time of first contact, but still overflowing with naturalistic life.

If you can still find joy in nature there's certainly an abundance in Canada and Australia, true the winter makes it difficult in North America, but there also aren't many venomous snakes (or spiders).

Storm Boy presents open-minded individuals who haven't been misled by prejudice, and gradually shows them peacefully interacting with intuitive grace and humanistic dignity. 

It also composédly challenges speciesism by crafting integral animal friends, not just cats and dogs but other animals who can also learn to harmoniously co-exist.

Its inherent calm enabling chill well-meaning tranquil harmless goodwill, should make Storm Boy a family favourite for different generations not only in Australia.

A must see if you have a family that's genuinely interested in the natural world.

It's not entirely chill, tough scenes await!

Why the emphasis on gruelling mortality?

*Isn't Kes's return the worst episode of Voyager?

**Speciesism doesn't show up in spellcheck!

***I can't find the Storm Boy sequel online!

Kurenai no buta (Porco Rosso)

An aging pilot hiding away on a remote exotic island, with some wine, a tent, a plane, and a radio, the hours slowly pass by, until called upon yet again (Shûichirô Moriyama as Porco Rosso).

He's somewhat of a virtuoso and was feared during World War I, his daring exploits exceedingly agile mechanistic maestro intuitive ignition.

He works as a bounty hunter recovering loot obtained by pirates, who grow weary of his nimble meddling, and hire a challenger to face him (Akio Ôtsuka as Donald Curtis).

His plane stalls, he's suddenly shot down, after just having made his last payment, the government changing and promoting fascism, which doesn't jive with his democratic sympathies.

Fortunately, friends have been made, one who'll set about rebuilding his plane (Bunshi Katsura VI as Mr. Piccolo), his granddaughter's brilliance seeking distinguished prominence (Akemi Okamura as Fio Piccolo), if she can stop love from fouling things up.

She designs his new wondrous jet stream just before the secret police arrive, the two escaping to Porco's secret hideout, which the pirates have meanwhile discovered.

The challenger arrives and is jealous of how much a maiden thrice widowed loves freewheeling Porco (Tokiko Katô as Gina), and defies him to fight once again, enough money to cover his costs versus Fio's begrudged hand. 

L'amour's injudicious vicissitudes bewilder nimble Porco's individualism, the intensity swiftly increasing the more he denies them, the more he attempts to reconstitute anew.

Transformed into a pig who some quietly say can only have his curse lifted by heartfelt innocence, he worries intently about age and probability, still with no interest in settling.

Definitely the strangest Ghibli I've encountered (it's rather literal) yet still abounding in feminine strength, as it creatively contends with a bellicose world so often composed by combative men.

Versatile lyrics enlighten the madness yet inspire more danger as they're sought after, equanimous tandemed quaint domesticity reservedly tempting romantic plots.

A film certainly like none other this airborne Kurenai no buta (Porco Rosso) imaginatively glides.

What's love like if uncertainty abounds.

And you consistently take to the skies?

Rumble Fish

Consistently struggling tantamount turmoil uncertain identity freewheelin' flux, hardboiled impulsive volatile rep discursively challenged voltaically scarred.

No guidance no mentor no quarter just headstrong courageous cataclysmic shock, hoping to find something to firmly adhere to, without showing signs of genuine interest.

He's never known his unconcerned mother and his father's (Dennis Hopper) gave everything up just to drink, his brother once leader of a neighbourhood gang but since disappeared for life on the road.

He suddenly returns (Mickey Rourke as the Motorcycle Boy) enigmatic and imposing but lacking concrete objective charisma, overflowing with versatile potential yet unwilling to choose one path over another. 

Rusty James (Matt Dillon) tries to relate but finds the mystery too confusing, the resultant vague indeterminate ambivalence too otherworldly for group dynamics. 

Not that the stories and the tales and the testaments don't heartwarmingly make for good conversation, there's just no pattern no general direction that leads to a construct, tradition, balance.

Some people (many people) like that kind of thing and eagerly respond to level-headed practicality. 

Corresponding occupational rhythms. 

Sure and steady indelible facts. 

Could mean a lot more at times if chaotic situations could find rational solutions, ubiquitous dissonance recklessly sustained difficult to patiently and reasonably negotiate. 

How to develop a lucid network of reliable intertwined energetic enterprises, judiciously incorporating rest and relaxation in a federation of craft, procession, and livelihood? 

Not to leave behind able capable citizens transforming angst into raw productivity.

You can clearly cover the basics to provide a general equitable start, with education and healthcare freely available there's much less tension a fairer shake more opportunity.

When you pool resources together to achieve things like safer schools and communities, there may be some people who take advantage, but don't statistics prove the majority act otherwise?

Times change, flux & fashion, independent trends, age old resolve.

The kids in Rumble Fish deserved a better chance.

Not like they ever would have said anything otherwise.

Man in the Saddle

Reared in the fledgling West, when cattlepeople came to parlay, begrudging neighbours were taken to task, sometimes deadly, sometimes shortsighted, at times rambunctious, on occasion, rather uptight, making one wonder why anyone ever came to town, if not for supplies, or distraught exposure.

People have gathered once again nevertheless on the day of the wedding of a wealthy rancher (______ Knox as Will Isham), whose bride (Joan ______ as Laurie Bidwell) once loved a less-well-off co-inhabitant (Randolph Scott as Owen Merritt), a man she refuses to ever forget.

The wealthy rancher's no awestruck fool unfortunately he's much too stern and practical, to ever generate genuine feeling from a sensitive creative soul.

And his jealousy slowly boils over with each mechanical passionless exchange, even if it's all he's used to, he can't accept that someone else had something more.

Merritt's ranch is much smaller than Isham's who seeks to monopolize the region, using the only tactics he's ever understood, coldhearted stubborn textbook belligerence.

But even if Mr. Merritt stressfully lacks a gang of rowdy uncouth hired guns, he still has many friends close by, many of whom come quickly a' callin'.

Soon romantic zeal's unwillingly duelling with inanimate calculation.

Ms. Bidwell unsure where she stands.

Neighbouring Ms. Melotte (Ellen Drew) aware trouble's a' brewin'.

Celebrating the raw unbridled frontier spirit with independent imaginative gusto, Man in the Saddle dares drift debonair with honest profound heartfelt discrepancy.

The odds are overwhelming yet the resolve exceptional enough not to doubt precise reliable markspersonship, the classic American home ranging heartache hassled harangued with bellicose brawn.

Trying to sincerely match adoring love with cold stubborn opportunism, may not work out so well if you're looking for content to match the formality. 

Nevertheless, a lot of people seem to make it work in relation to traditional old school arranged marriages, where I imagine resignéd familiarity eventually equates love with solemn observance. 

In my case, can't say I ever did meet a freespirit who would keep busy while I wrote in the park. 😜

So many films, the search for meaning.

Who could have ever have partnered up otherwise? 

Space Truckers

And through the passage of time, space is slowly colonized, commerce encouraged to flourish within, old school grievances inevitably emerging.

And as politics galactically expand, Earth's government loses control, one man attempting to exploit its weaknesses (Shane Rimmer as E. J. Saggs), with an army of invincible robots.

But his plans remain a secret and he has yet to transport them to Earth, stealth required clandestine collusion, patiently awakening, a trusty space trucker.

John Canyon (Dennis Hopper) arrives at a spaceport two days late with his sought after load, and payment is refused, confrontation bellicosely ensuing, but not before he's proposed once more to the diner's stunning waitress (Debi Mazar as Cindy). 

The confrontation proves irreconcilable and the corrupt boss is sucked into space (George Wendt as Keller), the independent contractor worried about his next move, he enlists the aid of an underground contact.

Who hooks him up unbeknownst with the robots and an even more demanding schedule, which he thinks he can steadily keep, if he transports the goods off-road.

After a collision with a camouflaged meteor he's left adrift in space.

Soon bombarded by covetous pirates. 

And their mad genius cyborg captain (Charles Dance as Nabel/Macanudo). 

Improvised tactics and frowned upon methods reflexively manoeuvre and bargain within, as Space Truckers celebrates old school individuals making a living through extant daring.

Equitable workplace regulations have yet to settle space so everything's controlled by executive caprice, and since there isn't much work to go around, obsequious dispositions flex and flounder.

Youth even confronts age old feisty Canyon and boldly recommends he play by the rules (Stephen Dorff as Mike Pucci), Cindy taking an amorous shine to him, the less stressful modus operandi. 

The company attempts to rip off Mr. Canyon so he responds with contentious cataclysm, just as Macanudo defies the government in order to pursue grand insurrection.

But Pucci doesn't betray his teammates or seek power or corporate control, differentiating himself thereby, in the chaotic mayhem.

The pirates take things a step further loosely organized and swashbucklingly conceived. 

As the formidable robots escape.

Still a future preferable to Covid.