Cutter's Way

Independent thinking cynically disposed a lack of purpose embittered tension, disparaging resolute alcohol consumption concealing tranquil constructive pastures. 

A clever incapacitated curmudgeon fluidly expresses existential laxity, thoroughly unamused with bells and whistles or anything whatsoever other than drink (John Heard as Cutter). 

He has good friends committed to taking care of him to delicately nurturing his troubled spirit, the job rather difficult at times since he's prone to bursts of antagonism. 

But one of them witnesses a man who likely engaged in the act of murder, yet is unwilling to talk to the police since the volatile subject is rich and powerful.

His lack of natural daring reawakens Cutter's sense of adventure, his innate romantic composure swiftly shifting back to cavalier. 

His judgment's still somewhat hazy insofar as he thinks his plan will work, that he can blackmail the notorious oligarch and then turn him in once he pays up.

Richard Bone (Jeff Bridges) and Cutter's partner (Lisa Eichhorn as Maureen Cutter) are noticeably less enthused, but Cutter's seen quixotic daylight and can't turn himself away.

He's like a pirate with no ship mundanely caught up with static landlubbin', with his discerning eyepatch and peg leg potential picturesquely protocolled in caricature. 

Inherently independent, salty sea bound stray severity.

Without a goal in sight he's reckless letting loose on routine convention, forgetting what it means to be neighbourly, somewhat of a menace at times in fact.

But his youthful unwavering reckoning does eventually compensate, certainly not for his neighbour's car, but perhaps for endemic eccentricity. 

Perhaps an outcast amongst independent swashbuckling critical hopeless endeavours (the film), due to its fatalistic attitude about Vietnam, and its initial outburst of vulgar racism. 

As a tragic protagonist Cutter is a bit hard to take, the transformation of hope into fatalism generally producing resonant discord.

Boredom generates malcontent flourishes, but doesn't have to aggressively assail, everything found in the immediate vicinity including others who are bored also.

It's cool when bored people get together to put on a play or make a YouTube channel. Start a small business of some kind. Perhaps a restaurant. A local sports league.

But Cutter needed the epic to revitalize his distraught soul.

And as he becomes proactive it impresses.

The final moments are exceptional. 

The Verdict

A troubled lawyer stricken and saturated is handed a routine straightforward gift, just show up and take the money ($70,000) and the controversial case is closed.

That's a lot of dough for maybe 20 hours spent meeting clients and doing a bit of research, show up, converse, agree, sign, and it's 6 more months living free and easy.

But there was a time when justice and reason inspirationally dawned and motivated, their ethical objective illuminations stoically crafting truthful light.

He doesn't plea he takes the case re-emerging from heartfelt pitfalls, an old colleague from back in the day providing ample inclusive support.

But the judge is resignedly stubborn and ornately impressed by antecedent repute, prone to belittling and austere exaltations of the concrete master narrative.

The opposition is equally dismissive of his regenerative resolve, and has lofty resources and a dedicated team at its institutional disposal. 

A star witness suddenly disappears, leaving him without that much of a case.

But he digs deep and perseveres as jurisprudence comes 'a calling.

It's classic David & Goliath emitting resonant influential social justice, the honest driven innate perspicacity as level-headed as it is hardworking.

Truth indeed equanimically supports him as he clashes with litigious artifice, protocol and proper procedure favouring blunt ostentatious deception.

Theoretically the law persists beyond specific ideological constructs, each case consisting of unique arguments to be meritoriously considered.

Objective discerning judgment may lack attuned collegiality, but inasmuch as it upholds the truth it represents an unbiased ideal.

It's an ideal which cultivates fair play and resounding equality before the law, and is therefore fundamental to democracy insofar as it's apolitical.

The independence of a country's judiciary is constitutionally vital, and keeps impulse and ploys and caprice from wildly reckoning with fads unprecedented.

The Verdict seeks mercy and clemency far beyond authoritarian influence.

Legal objectivity favours both sides.

Through tried and true uncontested resiliency. 

The Commuter

A horrible day becomes incredibly worse as an honest intelligent literary family man finds himself caught up in a plutocratic conspiracy, after having been callously dismissed from work, multiple lives dependent on his aggrieved spontaneity, while time quickly passes, in chilling centigrade.

He's a commuter, commutes downtown tous les jours from a quiet idyllic hideaway, for 10 years in fact, doing his best at work to ensure his clients are treated fairly, let go so the miserly company he worked for wouldn't have to pay his pension.

Disgraceful.

On his commute home, he's villainously coerced into discovering the identity of a conscientious individual in possession of evidence which would incriminate the perpetrators of an executive level crime, before the last stop, malfeasance which he or she also witnessed, the upper levels none too pleased with the illicit nature of their dealings being made public, and willing to pay lavish sums to see those they can't buy off silenced.

Not in Trump's case though.

Wow does everyone ever love screwing that guy over.

It's becoming a sport.

The commuter in question, one Michael MacCauley (Liam Neeson), has to uncharacteristically schmooze with his fellow passengers, the awkward nature of the exchanges becoming increasingly hostile as time runs out.

He's friendly and greets everyone daily, but is more known for reading on route, not forcing small talk.

There's even a great Texas hold-em match which demonstrates how unreasonable pressures lead otherwise upright peeps to use xenophobic strategies to obtain scurrilous sought after goals, the politics of who belongs aggressively employed out of sheer wanton hopelessness, psychotic demands bellicosely breeding psychotic outcomes.

Michael feels ashamed and eventually stops playing along even though his puppeteers claim they've abducted and will harm his family.

Inspired by his example, soon everyone on the train is self-sacrificing, and there's another great scene, where you see them metaphorically creating a union.

Makes it harder to be fired.

Just have to make sure the company you work for remains profitable.

It's a thrilling bold ethical castigation of those who caused the 2008 financial crisis and were never held to account, The Commuter is, the ways in which they still screw over little guys and gals with or without the aid of law enforcement also a subject of interrogation, paydays and corrupt ways plus pilfering and penny-pinching pronounced and nuanced, cronies versus constitutionals, 😉, stickin' it to the man, evidenced through combative conscience.

Smoothly situated in a sustained daily environmentally friendly ride, the opening moments cleverly capturing loving variations on a conjugal theme, The Commuter breathtakes to incarcerate belittling politics of division, or at least derails attempts to shatter hardworking solidarity.

With a classic performance from Mr. Neeson, whose unparalleled passion gradually builds as the tension chaotically intensifies, the other characters on the train adding complementary cheek, notably Colin McFarlane (Conductor Sam), and the one and only Jonathon Banks (Walt)(Gremlins, Freejack).

With Vera Farmiga (Joanna), Sam Neill (Captain Hawthorne) and Patrick Wilson (Alex Murphy).

My timing for the métro was perfect afterwards.

Didn't miss a beat.