Ant-Man & the Wasp

The underground trade in highly specialized technological essentials leads unscrupulous entrepreneurs to discriminately rank indiscretions.

Their desperate contacts require the unique components to commence a maternal examination of the uncharted Quantum Realm.

To catalyze their investigation, the assistance of a frowned upon former colleague is required, even if at the moment he's structurally immured.

He's kept busy throughout his exile, however, taking care of his inquisitive daughter at times, while strategically assisting in the creation of a legitimate business.

His partners rely on his insights as deadlines frenetically approach, yet are still there to assist should the world invoke his diminutive fury.

Law enforcement agents lie ready to pounce as well.

As a dying paracorporeal phenomenon furtively monitors the proceedings, in/substantially hoping to acquire life preserving experimental medicine.

Writers Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari keep these 7 threads tightly knit, thought provokingly interweaving them with nimble effective cause.

The result is one of the coolest Marvel films I've seen, a multidimensional triumph, haphazardly exceeding as egos prank and clash, resolutely imbibing as the minuscule basks macroscopic.

Difficult to meticulously seem so unconcerned.

To stitch together such a frenzied family friendly tableau.

To create such a thrilling clever memorable Summertime fusion, a huge varied cast is assembled, the film directly benefitting from the talents of Laurence Fishburne (Dr. Bill Foster), Bobby Cannavale (Paxton), Judy Greer (Maggie), Michael Peña (Luis), Walton Goggins (Sonny Burch), and Randall Park (Jimmy Woo), not to mention Hannah John-Kamen (Ava/Ghost) and Abby Ryder Fortson (Cassie), and mainstays Michael Douglas (dad), Evangeline Lily (the Wasp) and Ant-Man himself, Paul Rudd.

That's some solid diversity.

The film thinks globally through the use of microscopic illumination, its multiple well-developed characters (also including T.I. as Dave and David Dastmalchian as Kurt) clearly defining themselves at large, while cohesively electrifying piquant age old paradigms.

It's Trump's worst nightmare.

A family friendly film that everyone will see that has strong Latino, Black, Asian, ambiguously gay, and female characters, not to mention a Southern man foiled, and a traditional patriarch critiqued throughout, convincingly held together by humanistic self-sacrifice, even going so far as to metaphorically pull a feminine genius out of the clutches of extreme computational dismissal.

After having learned so much during her travels.

So many different walks of life narrativized.

The research scientists who critique the creation of commercial enterprise.

The professor who critiques their egos.

The criminal business that makes huge amounts of cash.

The small business created by ex-cons to legally scrape by.

In the beginning.

The new dad's always part of the picture.

The difficulties of making new friends outside work during one's professional life.

The ways in which online obsessions can lead to people missing extraordinarily realistic events taking place nearby (brilliant) (editing by Dan Lebental and Craig Wood).

The supernatural im/materialized.

Ontological office space.

Wings and blasters.

It's also really funny, I couldn't control my laughter at points, an expert blend of the serious and the comedic thoughtfully delivered like you're heading out to the ballgame.

Too adult focused?

I don't think so.

There's still enough action to keep the young ones focused I'd wager.

I might see this in theatres again.

First rate adventurous comedic romantic sci-fi action.

I can't think of an equally enrapturing comparison.

So well done.

Kret (La Dette)

Familial misfortunes beget treacherous tenements whose paranoid genuflections produce pernicious pensions.

The issue of guilt permeates a media sensation whose adherence to the sacred threatens the individual liberties it upholds.

Key players in a pivotal Polish event scramble to defend their prevarications.

And trust is brought to the fore as Rafael Lewandowski thoroughly upends what it means to syndicate.

The film keeps a level head.

Life goes on.

Appointments are kept. Business is transacted. Most friendships remain warm and friendly. Social value appreciates.

Kret's (La Dette's) lack of emotion represents both its greatest strength and most serious weakness as its logic reaches ascetic heights while its emotional depth is stiffly squandered.

Like legal spirituality.

Here Comes the Broom

In Frank Coraci's new comedy Here Comes the Broom, writers Kevin James, Allan Loeb, and Martin Solibakke seem to be asking the question, "can we unite the domains of high school music teaching and mixed martial arts fighting while wholesomely addressing issues of immigration, dating, professionalism, health care, small business ownership, altruistic risk, male bonding, conjugal relations, etc., in order to create a constructive interdisciplinary framework, overflowing with ebullient feelgoodery, that can function as a precursor to model communal action?"

If this is indeed the question that they at one point asked themselves, I can only respond by saying that, in my opinion, "there is a strong possibility."

The film's a lot of fun.

I've never even really been that into boxing or mixed martial arts fighting but Here Comes the Broom gave me a new found respect for both sports and I'll now be more receptive to viewing 'pugilistic' events in the future.

The film lays it on super thick but I liked its relatable trial-by-fire humbly rebellious we're-goin'-for-it-no-matter-what oddball pragmatism, which offers a welcome break from a lot of the sleaze that's out there.

It also focuses on how prominent integral arts programs can be screwed over by overemphasizing sports while focusing on the ways in which those very same programs are essential to the sports that are sometimes overemphasized.

And points out that even when people have difficulties passing tests, they still often have marketable skills that can be remarkably beneficial to their community.

Liked the synthesis.

All good.

Chinese Take-Away (Un cuento chino)

A random gravitational incongruity crushes a soaring romance after which one partner haplessly finds himself mired in a self-inflicted mimesis.

Thus Jun (Ignacio Huang) travels from China to Argentina in search of his uncle where he meets a frigid loner (Ricardo Darín as Roberto) by chance who is firmly set in his ways.

Jun doesn't speak any Spanish and Roberto dislikes house guests but the good samaritan Roberto keeps locked within persuades his finicky craftsmanship.

But as those with whom he must interact to find Jun's uncle ironically do not posses the same level of social reflexivity, things take a lightheartedly combative turn, until fate forecasts its fortuitous frequency.  

Decisions made, gut garnished, ethos, codified.

But it's really not that cheesy, I mean, Sebastián Borensztein's Chinese Take-Away (Un cuento chino) does press the curds but if you're interested in seeing a heartwarmingly blunt piece of extroverted reticence, primarily focused on an eccentric small business owner's stubbornly withdrawn principled hardboiled tact, wherein fascists and communists alike take their comeuppances, it's fun to watch.

Sensitive, enumerative, obdurate, and tender, assuredly a go-to-option if dating and seeking to sneak in an alternative cross-cultural b/romantic comedy.

I'm assuming that's what people who date are trying to do. 

Regardless of gender.

L'Incrédule (The Skeptic)

Two couples forge a spur-of-the-moment friendship in Federico Hidalgo's L'Incrédule (The Skeptic), after which a small business is inaugurated whose indeterminate outputs whimsically delineate the ambiguous.

The service they provide is known as the Charuflauta, which, from what I gathered, is a cure for loneliness.

None of the characters are able to definitively describe it, however, or figure out whether or not they should seek payment for their efforts.

When their first clients require a practical application of their abstraction, the comedic results lampoon the melancholic while stultifying the hyper-analytical.

Great film, mischievously mixing a broad array of sociological, personal, financial, artistic, and conjugal intersections, loosely framed within a recurring photographic motif, which establishes a reverberating ontological/epistemological dialectic, in order to clarify a sense of belonging.

Cheeky, uplifting, indecisive, self-assured.

In regards to the encapsulations of the concretely abstract.

Tim and Eric's Billion Dollar Movie

Enjoyed Tim and Eric's Billion Dollar Movie.

Some of the jokes aren't the greatest and one situation almost made me retch, but these guys are undeniably flexible in terms of producing sustained awkward oblivious carefree traumatically endearing comedy, nostalgically nuanced with a 1980s commercial naivety, and overflowing with nimble bad judgment.    

In search of a billion dollars.

Chef Goldblum's (Jeff Goldblum) transitional introduction sets the stage.

The hysterically fruitful job interview where Damien Weebs (Will Ferrell) devotedly demands that Top Gun be played a second time keeps things flowing.

Taquito's (John C. Reilly) epic battle with the mall wolf invokes tragedy.

And Katie's (Twink Caplan) indiscretion cannot tear Tim and Eric apart.

They've been taught what to expect from life and how to approach it from television and the movies, and, as a consequence, haplessly proceed with limitless confidence.

No matter what situation they face.

Ignoring the ways in which everything around them is crumbling and decaying, they manage to not let a little financial instability get them down.

While forging a strategic plan.

And unerringly living the dream.

The Dictator

Okay, let's take a big piece of autocratic shit, give him plenty of time to express himself, strip him of his privilege, place him within a formulaic situation which usually exemplifies redemption, and use his despotic voice to ambiguously promote substantial social democratic initiatives.

While satirically making light of reprehensible realities in order to suggest that disengaged nihilism can make one actively receptive to anything.

In an unrestrained salute to decadence.

Equating the structural socio-economic realities of dictatorships with those found in democratic countries makes a powerful point, representative of the Occupy Movement, perhaps attempting to speak to some who ignored it by encouraging their revulsion not only to Aladeen (Sacha Baron Cohen) but also to the formula creatively used to try and generate knee-jerk sympathy for him.

Without the revulsion, however, a socialist/fascist dialectic presents itself wherein socialist initiatives (multiculturalism, universal healthcare, public education, freedom of speech, . . .), which progressively attempt to provide workers with agency so that their voice can play a meaningful role in the ways in which an entity (a business, corporation, parliament, school) conducts its affairs, are sadistically separated from their collective foundations by acts which attempt to convince them that since they have this agency, this voice, this individuality, they are therefore no different from your average plutocrat/monarch, and should consequently regard collective actions as being beneath them, seeing as monarchs often have more important things to concern themselves with than the impoverished concerns of their subjects (which are pervertedly generalized as being the result of morally corrupt characters).   

The relationship between Aladeen and Zoey (Anna Faris) in The Dictator examines this dialectic by having a tyrant work at a collective organic grocery (Free Earth Collective).  While working, Aladeen demonstrates his complete lack of social understanding (monarchs are not like workers) and Zoey is so naive she ignores the multiple signs indicating Aladeen's sadistic tendencies.

And after Aladeen employs a stiff upper lip to improve her business's efficiency she marries him and helps to introduce a number of ineffectual political reforms within his home country.

Hence, The Dictator rashly sanctifies a maniacal potentate to level out the Western/Middle Eastern political playing field while indicating the need for change by wickedly evidencing how disengaged things have become.

There's a lot of corruption out there but for every Stalin there's a Tommy Douglas. 

Greece is not Norway, Sweden or Finland. 

Your vote does matter.