An Unfinished Life

A loving mother (Jennifer Lopez as Jean Gilkyson) packs up and leaves after her partner becomes abusive (Damian Lewis as Gary Winston), her daughter happy to leave things behind (Becca Gardner as Griff Gilkyson), as they head back to the wilds of Wyoming. 

There the child's grandfather awaits (Robert Redford as Einar Gilkyson) and is something of a grouchy mcgrouchersons, but he means well and sticks up for the downtrodden even if he's difficult to get along with.

His partner (Morgan Freeman as Mitch Bradley) was mauled by a bear and is now generally confined to his belovéd cabin, not blindly seeking rash vengeance, preferring to let the seasoned bear live in peace.

The bear's still around in fact and is eventually captured and then encaged, not in the most hospitable confines, it's sad to think he's no longer roaming free.

Jean and Einar are at odds because Jean accidentally killed his son, after falling asleep at the wheel, he tries but can't honestly forgive her.

She finds work in the old rugged town as 'lil Griff takes a shine to gramps, as he teaches her old school ranching ways, chartered chillin', inchoate enrichment.

But something doesn't sit quite right about that bear's sullen incarceration. 

A plan is hatched seeking animate freedom.

Even though he has quite the temper.

It's a strange mix in An Unfinished Life between different types of violence, on the one hand Jean clearly has to leave her relationship, no one should put up with that kind of nonsense.

But on the other an injured stalwart goes to great lengths to forgive a bear, it's possible he or she may strike again, but are they just functioning according to instinct?

I was happy to see a sympathetic attitude kindly applied to misunderstood bear kind, grizzlies used to range across so much more of North America, and now they don't have very much land left.

It's clear the human has had opportunities to change and definitely should have known better, it's different for a wild daring animal who may freak out if you suddenly surprise it.

Still though, if a bear strikes once and there's no strict penalty, what happens if it strikes again?, if you could transport the bear into the wilds of Northern Canada and Québec, however, there won't be many people around (although bears have been known to travel vast distances back to their original hangouts after being relocated).

The vast majority of the time the bear won't strike according to the books I've read, I've seen several while out and about as well, I've kept my distance and never had any problems.

If only bears were never grouchy or somehow aware of the danger they're in.

I truly believe many of them are.

And that either way they've never meant us much harm. 

Since our ancestors landed! 😜

The Batman

*Spoiler alert.

Reinvented again for another reboot which reimagines traditional tropes, trajectories, a much less pulpy light illumination recast in dire solemnity.

The Riddler returns to confound the Batman with pejorative puzzling and plagued putrefaction (the Penguin also making an appearance), a pattern emerging the details discomforting, the players well-known to the reclusive billionaire.

In this sombre reawakening Bruce Wayne (Robert Pattinson) spends little time managing Wayne Enterprises, having yet to envision the circumstances in which his businesses could benefit ailing Gotham.

Alfred (Andy Serkis) is forlorn yet dutiful and thoroughly worried about his disengaged charge, no doubt proud of his crime fighting agility yet still rather anxious regarding the future.

Batman's more of a young adult in this instalment, still coming to terms with his coveted legacy, passionately lured by the prestige of his role yet at times uncertain as to how to proceed.

He even wipes out at one point and takes a rather severe tumble, the results of which should have perhaps been more serious realistically considering his noted mortality.

The film's still more like the Christopher Nolan Batmans even if he does take quite the unexpected fall, with more of an emphasis on scientific fact than unobserved fantastic comic book reckoning.

Perhaps it's just the subconscious favouritism of yesteryear but I find myself longing for something less logical, like sociopathic Jack Napier's descent into a vat of acidic chemicals only to emerge the nefarious Joker.

Not that The Dark Knight isn't one of the best films I've ever seen, but too much reasonable objective fact can take away from the resonant fantasy (not in Bond, the beginning of GoldenEye was terrible). 

I suppose The Dark Knight did succeed in finding rational means to uphold its sensation, as does Matt Reeves's latest vision, perhaps I'm just searching for the magically real, the cool thing about fantasies is they don't require scientific proof (assuming they don't take over). 

The Batman's still really well done with an impressive cast with many cool actors (Zoë Kravitz, Jeffrey Wright, Colin Farrell, Paul Dano, John Turturro, Peter Sarsgaard, . . .), who add feisty nuance and versatile daring to so many captivating scenes.

Oddly, the Riddler is caught but Batman still fails to stop him.

Batman wipes out.

The Riddler's plot isn't foiled.

With so many superhero films currently flourishing.

This one still finds a way to stand out.

Hoping they mix in Joaquin Phoenix's Joker.

Marvel's continuity is first rate! 

Wonder Woman 1984

Strange how 1984 was chosen for the title of the new Wonder Woman film, since Orwell's novel doesn't influence the plot, which has more to do with one man's unhinged megalomania. 

Indeed a somewhat bland artifact is found and brought to the Smithsonian in the 1980s, its legendary origins unknown at first as steadfast workers research and classify. 

But it turns out a television personality has been seeking its mythic prowess (Pedro Pascal as Mr. Lord), for it's reputed to grant a wish to whomever holds it in their possession. 

Diana (Gal Gadot) and co-worker Minerva (Kristen Wiig) were accidentally granted wishes, and didn't realize there was a penalty for unwittingly coaxing the treacherous stone.

Pedro wishes to become the stone itself and sets about granting elaborate wishes, his wish granting growing more and more outrageous as his prestigious worth ameliorates. 

Diana realizes he must be stopped and has to renounce her wish to do so, for even though she's ecstatic her love interest's returned (Chris Pine as Steve Trevor), his existence is taking away her powers. 

Minerva refuses to give up hers having grown accustomed to superheroic strength. 

The two face off near the chaotic climax.

As Pedro uses satellite technology to grant wishes throughout the world.

Satellites were huge when I was a kid not just in popularity but in size as well, now they're certainly much smaller yet possessed by a much larger number of people.

Does Wonder Woman 1984's use of the Orwellian date relate to contemporary global interconnectivity, or the ways in which satellites and other devices have linked billions of people across the globe?

The technology does seem essential and undeniably facilitates rapid communication, it's still fascinating how quickly one can converse with someone residing on a far off continent. 

But freedom lies with disconnection with a less engaged absorption of worldwide data. It's important to stay generally informed. But I feel so much better when I shut off the news.

I spent years finding cool articles to share with people and advertise my favourite news sources, and to contradict prevalent one-dimensional narratives which ignored the integrity of working people.

Perhaps some people did start paying attention and found some new news sources they liked.

Working class integrity goes without saying.

And used to be a focus in the media year round. 

Shang-Chi and the Legend of the Ten Rings

An ancient warrior fortunately comes across 10 vital rings which grant immortality, afterwards using his newfound power with invincible finesse on the field of battle (Tony Chiu-Wai Leung as Xu Wenwu).

Hundreds of years pass and the thrill of ruling loses its appeal, he begins to seek out myth and legend to discover alternative adventurous yields. 

He's led to a mythical forest reputed to nurture fascinating animals, whose unique supernatural existence endemically eclipses mortal agency.

Not that they likely wouldn't spiritedly co-exist with adorable hippos and freewheeling zebree, but having spent millennia secluded in wild embowerment it's difficult to determine how they may react.

Xu finds the entrance to their peaceful home but is mischievously prevented from entering, a feisty resident bluntly refusing his unexpected visitation (Fala Chen as Ying Li).

He slowly falls in love with her and she indeed with him, but he is forbidden from staying in the village, so the two depart for the outer world.

Children are born their family expands but Xu's enemies soon come calling, and take the life of his cherished bride which drives him into a chaotic fury.

Years later he believes he hears her voice behind a forbidden gate.

And swears to break her free.

Unaware he's tragically mistaken.

Shang-Chi's mythic secluded forest with its multidimensional peaceful species, immediately bring humble Ghibli to mind, and I wonder if Marvel and Ghibli influenced one another (Marvel Comic Books and eventually Marvel Film) over the bountiful contemporaneous years.

Or if legends of mythic forest villages gained more prominence as Asian populations expanded, the less forest the greater the mystery the more mythically profound the innovative narrative.

Thus, I may search for some books chronicling the development of forest myths in Asia, which perhaps refer to Ghibli and Marvel, that may be asking too much!

And perhaps stories need to be written of integral First Nations exceptionality, still at eternal play in the unexplored forests of Northern Canada.

So much to gingerly explore if only time and weather weren't pressing factors.

Experimental venturing June through September.

Novel expenditure come January. 

Black Widow

One of the oddest points I remember from reading Plato's Republic, was the theory that children could be taken away from their parents and raised communally without them.

When I pointed out the egregious error Plato had made by suggesting something so abhorrent (I had grown up with other people and it was clear the majority loved their families), I was reprimanded for not taking the point seriously, perhaps having encountered pedagogical psychosis, or a walking breathing idealogical textbook. 

It's always seemed self-evident that most people want to raise their children, and even develop a special bond with them, known universally, in less extreme times, as love.

When the time is right there are instances when poverty and youth require alternative options, but it's not as if such a decision is easy to make, imagine if the impoverished people who chose to keep their children weren't met with so much hostility, and were treated honourably for the tough decisions they've had to make.

There are still those who can't love, however, their lives a meaningless sterile indignancy, many of them manipulating the feelings of people who do, to achieve solipsistic ends.

Adoption, the creation of new families, is a feature of a truly advanced society.

Monstrously perverted by the villains in the haunting Black Widow.

 

Family without love, conviviality, or amicability. 

Rather, an antiseptic society attempts to cleanse itself of feeling, wherein which formula and calculation attain cultural cohesion as opposed to love.

Wherein which you're terrorized if you truly love things (such a burden to be sensitive), by other people who also love, but don't want to be terrorized by emotionless leaders, who see personal attachment as an inherent threat.

In Black Widow, a tyrant preys on orphans whom he subjects to extreme tests, those who pass eventually becoming spies, those who can't, never heard from again.

He turns the spies into fierce international soldiers spreading malice around the world, their loyalty unyieldingly guaranteed, by advanced psychotic brainwashing.

Unfortunately, such ideas persist and haven't faded into history, the cultivation of family and friendship much less amenable to absolute power (on the left and right).

If people argue loving your family is indeed an extreme position, they're clearly fucked in the head, and it's best to swiftly tell them so.

Families can be composed in so many ways with so much distinct unique variability. 

It's a shame things don't always work out.

But that's no reason for categorical dismissal.  

Mononoke-hime (Princess Mononoke)

A young prince must fight a demon who threatens the prosperity of his humble village (Yôji Matsuda as Ashitaka), his people forced to flee long ago after infuriating the emperor. 

He successfully slays the intruder but touches its infected tentacles too, a curse then emerging within his arm which the village elders cannot cure.

Not willing to sit back while it spreads he boldly departs in search of medicine, making his way to a rowdy village engaged in the act of making iron.

He's welcomed for having rescued some of its menfolk from irate wolves, the village leader (Yûko Tanaka as Eboshi-gozen) eagerly entertaining and letting him get to know her people.

But as it dishearteningly turns out, their ironworks is destroying the local wilderness, where a resident forest god has lived forever, in quiet peace and regal seclusion. 

The animals are loosely united and intent on fighting the destructive town, arguments erupting amongst them, at other times, cohesive calm.

A young maiden lives with the wolves and is just as fierce in her condemnation, known as Princess Mononoke (Yuriko Ishida), she denies fear and exhales resolve.

Prince Ashitaka soon finds he's in love with her as all hell emphatically breaks loose.

Eboshi-gozen wants the god's head to grant immortality. 

But is unsure if the legend's true. 

Princess Mononoke and Prince Ashitaka find comfort in their mutual adoring amicability, the ideal unification of masculine and feminine harmoniously embracing age old enlightened daring.

It's more difficult to figure out the role matronistically played by Eboshi-gozen within, for on the one hand she supplies freedom and community, on the other, environmental devastation.

Not only the naturalistic bedlam to be expected by efficient mining, but she also pursues the forest god itself, intent on despairing ancient resiliency. 

She frees many from vile servitude and supplies honest work for her surrounding cast, while promoting the development of Mordor, it's a difficult contradiction to balance.

Environmentally friendly mining practices at peace with resident animals, certainly would have been less burdensome, and providing a heightened degree of friendly interdependency.

Love still innocently flourishes beyond problems associated with industrialization.

A narrative like none other.

Forest mystics, spellbound exhilaration. 

*Note: Ghibli doesn't show up in spellcheck!

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?

Doctor Strange in the Multiverse of Madness

Into the Multiverse again, parallel worlds, divergent destinies, similar parameters with variable fruition, expansive alignments, indistinguishable patterns. 

Perhaps the dreamworld links them together, a dreamworld maintained by the midi-chlorians from Star Wars, animate life in one verse linked with the others through dreaming, the end of one's life like a permanent dream, before being reborn in an alternative universe.

For the sake of storytelling, the general parallels oft imagined amongst different verses make narratological sense, inasmuch as consistent character and reliable themes ensure venerable harmonies persist amidst temporal mayhem.

But the odds of the verses realistically maintaining such a high degree of familiarity seem incredibly high in my opinion, with too many monumental shifts encouraging irreparable disparities, too many variables to holistically unite.

But perhaps that's what the midi-chlorians do, I'm certainly no expert, it's just an idea, but it seems like if one world is destroyed by war it would prevent the development of historical paradigms comparable to those found in many others. 

There are many variables to manage when playing baseball, for instance, batting, fielding, pitching, relief pitching, closing pitching, different unique positions, streaks, slumps, coasting, all broken down into over a 100 years worth of statistical analyses, honestly with all that information I don't know how anyone ever makes a decision.

Multiple decisions are made every day notwithstanding the multiplicity of error, competently aligned with foresight and serendipity to make it through game after game.

Does the multiverse take into consideration the complexities of such a game, and multiply them by at least a hundred trillion, while simultaneously ensuring interdimensional commonality, between who knows how many worlds?

Nevertheless, a cool idea, which I imagine has existed since long before it was first written down, fears of being accused of heresy having persisted for millennia, invasively transformed from epoch to epoch. 

The power to travel through the spectacular flux with lucid ease and reflexive understanding, would indeed encourage spirited manifestations throughout one's cogent waking life.

Cool to see Sam Raimi back at it and still applying an independent touch.

Haven't had a veggie dog in years.

While out and about hobnobbing around town.

Spider-Man: No Way Home

 Note: a few years ago, after hearing that another company had purchased the rights to make the next Spider-Man film, I wrote a post expressing perplexed doubts, but I'm wondering if the reasons behind my initial misgivings were misinterpreted, and figured I would supply a more detailed explanation.  I didn't mean to suggest that previous Spider-Man franchises didn't add up, in fact I rather enjoyed the Sam Raimi trilogy way back when, but unfortunately never saw Andrew Garfield's films, for the following reasons. Spider-Man films were just coming out too often (like Batman films). There was Raimi's trilogy. It was great. 5 years elapsed between his trilogy and the first Amazing Spider-Man film. It wasn't enough time in my opinion. I wasn't ready to invest myself in another incarnation of the story, and thought it was more about cashing in, than presenting good storytelling. I may have been incorrect to think that and I never saw the films so I can't describe them, but I certainly wasn't ready for another Spider-Man franchise, hey, it's probably good, I probably missed out. Now Marvel has been making high quality action films for years and the universe they've created is colossal. I figure that if you were 7 years old when the first Iron Man film came out, the cinema of your youth was incredible, if you liked action films. Marvel didn't start out with a Spider-Man film, it introduced Spider-Man during Captain America: Civil War, just kind of snuck ye olde Spider-Man in there, without making much of a fuss. Taking the pressure off the new Spider-Man character made his first film much less of a spectacle, and then it turned out to be really well done, as have its successors, Marvel's youth contingent. Spider-Man: Far From Home ended on a thrilling cliffhanger and had been so well done that the thought of just ending it there and starting up again fresh with a new franchise seemed like such a bad idea, something that wouldn't sit right with millions of fans. The thought of having no closure with that narrative and suddenly having a new franchise with a new origins story and different actors 2 or 3 years later was too much, hence I thought Marvel should continue making new Spider-Man films (they had been doing such a great job). It's not that I thought the new production team would do a particularly bad job, if anything Marvel's excellence has had an auriferous effect across the action/fantasy film spectrum, DC is currently making much craftier films, not to mention the mad craze of independents. But it was possible the new franchise may have been less compelling, and no doubt would have been vehemently criticized regardless, due to the lack of closure. Spider-Man: No Way Home plays with franchise particularities, and brilliantly synthesizes the three latest franchises, in a tender and caring homage to constructive sympathy. Rather than try to defeat the 5 villains who appear after one of Dr. Strange's spells goes awry, with the help of fan favourites from the last 20 years (like living history), this youthful Spider-Man tries to find a way to cure (with help) them from the nutso accidents that led them astray. Meanwhile, he also wants to get into college while dealing with high school and a lack of anonymity. I thought it was a great idea.  An atemporal blend of different creative conceptions. Not sure where it will head next. But in terms of actions films thinking about the dynamics of action films, Spider-Man: No Way Home does an amazing job, without seeming like it's making much of an effort. Not bad. 

Fantastic Beasts: The Secrets of Dumbledore

The magical world continues to negotiate a menacing combative destructive threat, as Gellert Grindelwald (Mads Mikkelsen) and his fascist minions seek the subjugation of muggles worldwide.

It was thought their bellicose movement would disappear if generally disregarded, but seditious sympathy at the highest levels mournfully led to political profligacy.

Dumbledore (Jude Law) stands against them but can't deliberately enter the fray, extremely powerful amorous magic heartbreakingly preventing him from taking part.

But he assembles a resolute team who synergistically subverts Gellert's monstrous flux, not with enough prowess to halt his ambition, but still with enough daring to make things interesting.

A magical beast takes the ceremonious stage as the magical elite gather in mystical Bhutan, a creature capable of discerning spiritual integrity, a virtuous quality sought by the magical world.

Newt Scamander (Eddie Redmayne) was able to locate a Qilin mother just as she was about to give birth, but Grindelwald's devout disruptive subjects suddenly emerged and captured the youngling. 

Fortunately, unbeknownst to Grindelwald, the mother gave birth to twins.

While Grindelwald's magic somnambulizes one.

The other awaits felicitous fortunes.

Fantastic Beasts: The Secrets of Dumbledore makes bold strides in the fantasy realm, with Dumbledore's sexuality directly depicted, a groundbreaking step much like Marvel's Black Panther.

His tragic love maddeningly enduring frenetic devastating bland absolutism, as Grindelwald haunting proclaims, "but who will love you Dumbledore?", before retreating back to his despotic hideaway.

Jacob Kowalski (Dan Fogler) is also back at it with as much audacious reckoning as ever, somewhat hesitant and far out of his comfort zone, but still deftly clad in honourable bearing.

Not as many magical creatures to be found within this instalment, but perhaps a Fantastic Beasts series should be considered, with a dozen or so episodes that feature Newt searching the world for magical beasts like David Attenborough (something calm)?

I have to admit, as a personal addendum, when I'm writing my blogs I truly don't doubt myself, I often like many of the sentences or stanzas I create, and know that if I didn't have to work, they'd be even better.

But the real world is tough to negotiate and I keep expecting to find friends where I only meet adversaries. 

I suppose I'm supposed to get used to it.

But I just simply can't.

It's not a world worth living in. 

Jurassic World Dominion

Back to the old power and megalomania hellbent on global domination, this time having genetically engineered giant locusts which habitually feast on various crops worldwide.

Various crops which happen to have been resolutely cultivated with Biosyn seeds, Biosyn having created a market (like Monsanto?) for its grain, then proceeded to wipe out every form of competition.

Dr. Wu (BD Wong) realizes catastrophe's afoot but can't seek redemption without looking bad, let millions of people starve to death or risk losing face, he wants to make amends but can't think of how to do so.

He's denied by his wicked boss (Campbell Scott as Lewis Dodgson) whose evil intent is rebelliously disputed, as both Jurassic World and Jurassic Park alumni converge on his remote laboratory. 

Doctors Ellie Sattler (Laura Dern) and Alan Grant (Sam Neill) representing scientists generally seeking to promote knowledgeable wonder, like the bourgeoisie they rely on funding to make spiritually prosperous cultural contributions.

Claire (Bryce Dallas Howard) and Mr. Grady (Chris Pratt) are more hands on and take a practical approach to living with dinosaurs, like versatile independent conscientious workers they promote sustainable communal life.

Thus, the mad elitist seeking to monopolize global food production, is courageously challenged by worker and middle-management who daringly obscure his psychotic vision.

But Jurassic World Dominion is also about a world where dinosaurs abound, multiple species fortuitously finding a way to generally adapt to divergent ecosystems.

I suppose it would be a grandiose ecological disaster of intensified colossal invasive magnitude, but thoughts like that kind of spoil the fun, and contemporary and ancient species alike seem to be getting along so well in the film (it's just a movie).

I was almost teary-eyed to see Laura Dern and Sam Neill back at it, after so many intervening years, was but a wee lad when the original came out, I was reading the book at the time, which I thoroughly loved, it's my favourite Michael Crichton.

Apart from the requisite mayhem and the inevitable hoopla of the traditional blockbuster, there are some really cool animal scenes, especially one where Dr. Sattler sees a baby, and says, "you never get used to it".

People who love animals know how true those words are, and that even if you see wild turtles or zebras or water buffalos every day of your life, the experience never gets old or tiresome, it's irrefutably exciting each and every time.

That scene made the film for me and it was also really cool to see the two casts converge.

The likelihood of their plan succeeding: it's up for debate.

Certainly not without the aid of Ms. Watts (DeWanda Wise) and Mr. Cole (Mamoudou Athie).  

Chattahoochee

A veteran from the Korean war who managed to distinguish himself has trouble fitting in back home (Gary Oldman as Emmett Foley), and after having grown tired of picket fence pastimes, tries to get the police to shoot him for the insurance money.

He winds up in a psychiatric institution and finds he's in for the long haul, a distressing situation to say the least since he really isn't that insane.

His coherent reflexes help him observe the unfortunate general corruption, the cruel and unnecessary punishment routinely handed out by the sadistic administration.

He keeps track of the abuse in writing and eventually even studies introductory law, learning enough to air legitimate grievances which are generally ignored by unsympathetic staff.

Meanwhile, as the years pass by, his child ages and his wife (Frances McDormand as Mae Foley) seeks divorce, his sister (Pamela Reed as Earlene) never giving up on him, but somewhat perplexed by the daunting legal fees.

Consistent protest within the facility leads to frequent confrontation, irate guards and frustrated staff with no inclinations to change the management.

It's an old school animate take on social justice and institutional reform, the assertion of rights by those left behind by a system thoroughly unconcerned with how to take care of them.

You get to see Oldman and McDormand in their youth delivering exceptional performances, even if Chattahoochee has issues, you can see why these actors made a go of it (didn't they win best actor and actress in the same year? [2018]).

The thought of being generally sane and finding yourself locked down by bureaucratic codes, is aggravated by the reality that so many others who lack rationality can do exceptionally little to freely defend themselves.

Fortunately, Foley's work prevails and over a hundred reforms are introduced, and he's eventually released a free person to passionately deal with middle-aged life.

I imagine things have remarkably improved since Foucault wrote Madness & Civilization, in some jurisdictions anyways, which hopefully aren't suffering from stringent cutbacks.

It seems that caring for the sick goes without saying and there should be principled professionals who proceed accordingly.

Too bad stories like Chattahoochee still emerge.

Laws should prevent sadistic reckoning.

*There's no secret meaning here, no underlying code. This film was released in 1989 and I'd never heard of it. That's why I chose to watch it.

Minari

The sudden move from California to humble landlocked Arkansas, abundant land awaiting cultivation, intrepid vision, audacious yields. 

Without even a well to speak of they settle in and get down to it, sexing chickens during the day, otherwise pioneering.

Jacob (Steven Yeun) wants to succeed and move beyond habitual happenstance, to have something of their own to fluidly manage, intense labour, fecund independence.

Monica (Han Ye-ri) is less enthusiastic with the abrupt uprooting move, her new house not what she'd expected, their land far away from suburban life.

Their son (Alan Kim as David) has a troubling heart murmur which generates solemn worry, even if childhood proceeds unabashed full of resounding pluck and curiosity. 

A rough and tumble grandma (Yoon Yeo-jeong) comes to stay to help out with the kids and general chores, but David and Anne (Noel Kate Cho) are somewhat perplexed by her vibrant striking unorthodox manners.

Local life flourishes around them as they cautiously reflexively adapt, remarkable difference ample opportunity hauntingly clouded by latent doubt. 

The film endearingly showcases family honestly interacting through uncertain times, making the most of its newfound intricacies while mild-mannered arguments periodically erupt.

The supporting cast introduces enough novelty to poetically distract from quotidian alarm, as granny teaches the kids to play cards, and their helpful farmhand (Will Patton) reacts sans inhibition. 

Minari itself is a compelling crop which robustly fertilizes apt immigration, generally healthy and easy to grow it instinctively blends in manifold surroundings.

Democratically attuned minari elevates the agile passionate immigrant spirit, the vital resilient resonant difference that passively shakes up concrete routines.

The Yis struggle at times as competing dreams manifest in dispute, optimistic overtures and belittling misgivings conjugally clashing with traditional uproar.

But in terms of multidimensionally presenting a well-rounded look at dynamic life, Lee Isaac Chung's Minari impresses on disparate levels without ever seeming holistically fond.

Nice to immerse yourself in a meaningful story cleverly intermingling so many chill aspects. 

A celebration of America's potential.

Along with practical dreams. 

The Presidio

A military policeperson (Jenette Goldstein as Patti Jean Lynch) is shot during a routine call, her death possibly related to another misguided crime.

Her ex-partner is assigned to investigate (Mark Harmon as Jay Austin) but jurisdiction leads to conflict, as he questions army personnel without respect for rank or standing.

Lieutenant Colonel Alan Caldwell (Sean Connery) realizes they'll have to have work together, a joint military/police operation with irate tensions steeping.

Lynch and Austin once arrested Colonel Paul Lawrence (Dana Gladstone) for disgraceful conduct, but when their work was scrutinized, Caldwell didn't support them.

Thus Austin left the army but now finds himself once again, in a position to arrest Mr. Lawrence if the evidence proves compelling.

Caldwell struggles to assist while calling attention to unwritten codes, thereby curtailing cowboy antics liberally applied notwithstanding. 

Austin starts dating his daughter (Meg Ryan as Donna Caldwell) much to his dismay, as the ancient clashes of stubborn cultures take on newfound ballistics.

The Presidio is very direct in search of blunt disgruntling fact, with no concern for feints or subtlety it blatantly marches on.

In a democracy there's room for manifold styles of film, and if one genre eclipses the others it can lead to incestuous deluge.

Thus I've kept an open-mind when freely viewing service films, to strangely embrace agile difference as composed through upheld traditions.

Frank exchanges between honest men often have otherworldly impacts, especially when immersed in rigid strata where trusted honesty is anathema.

It doesn't work so well in The Presidio at least it's not The Rock or Pulp Fiction, it works along the same lines but misses the mark unfortunately.

Still, remember that's just my impression and you shouldn't feel bad if you disagree, like what you like, get into it, artistic criticism isn't objectively orchestrated.

I've met people who had different tastes and at times I was surprised they liked certain films, but I always admired how earnestly they defended them since they weren't trying to impress.

Thus if you happen to love The Presidio I may be somewhat surprised.

Don't be annoyed by my alternative take.

Relativity upholds thriving democracies.  

Sound of Metal

Freely travellin' 'cross the country fluidly movin' from gig to gig, the wild thrilling sustained adrenaline boldly yielding extensive showcase.

Then suddenly the swift withdrawal of an essential sense shocking consternation, distressing requisite adjustments cold uncertainty latent flux.

Fortunately, communities exist to gently facilitate bold transitions, people aware and wholeheartedly concerned with helpful practical communal bulwarks.

A vast undertaking expansive and dear warmly connecting and nurturing individuals, from which new lives energetically emerge compelling unique artistic wonders.

After Ruben Stone (Riz Ahmed) loses his hearing he finds a supportive chill community, which patiently teaches him to adapt in a warm instructive active atmosphere.

He gradually learns sign language while teaching drumming and making friends, the resonant intricate inclusivity producing value added information. 

He's still interested in a procedure which may restore his hearing, however, even if it costs around $40,000 and he doesn't want to sell his ride.

A more robust healthcare system may have easily absorbed the cost, the collective flow of meaningful capital generating universal levity.

Isn't health something to be taken care of regardless of wealth or race or creed, shouldn't everyone have access to the same medicinal opportunities?

Doesn't a healthy population work more effectively on the job, and don't such salubrious dividends lead to systematized prosperity?

Healthy people earning higher incomes have more money to spend, thereby expanding robust economies with various recreational facilities.

I don't know what it's like in the U.S but having access to healthcare in Canada and Québec is great, taxes are somewhat higher, but so far I've never had to worry (there are disturbing stories out there).

Life's different when you don't have to worry about health or prohibitive educational costs. You can spend more time engaged with life and study without having to worry all the time.

Although it looks like the economic shocks of the pandemic are trying to bankrupt the middle-class, there was a chance that debts may have been paid off someday, it even seemed like a working possibility.

Healthy communities. Productive workplaces. Worry free studies. Reliable debt management.

Just takes some higher taxes.

Holistic fair play.

Rhizome ripples.  

Near Dark

The carefree mosey experimental random newfound chill relations, inspire paramount misfortune archaically clad nocturnal vision.

He (Adrian Pasdar as Caleb Colton) must admit he likes her (Jenny Wright as Mae) but is still critical of what he's become, after her loving playful bites lead to vampiric transformation.

The sudden shocking discovery of a mobile team menacingly manifested, leads to trepidatious tumult potential incompatibility. 

He needs to feed to gain their trust but humanistically can't take lives, resultant vehement disputes suggesting alternative pair bondings.

But she wants him to hang around and freely lets him gourmandize, until there's trouble at a round up and he lets a terrified victim flee.

Mistrust immoderately showcased his life in danger Caleb pleas, before a gallant move reinstates fidelity through hearty cursed chagrined hiatus.

Yet his family's on the move engaged in heartfelt search and rescue, they manage to kindly find him, and introduce novel transfusion. 

Back amongst the living regenerated soulful sessions.

The reunion somewhat brief.

Acerbic obfuscation. 

Kathryn Bigelow's chilling Near Dark keeps things focused on the present, haunting vampires there may be, but there's little discussion of origins or community.

It's a visceral macabre romance featuring moribund exclusivity, that keeps things raw refreshed immediate impassioned daring bold l'amour.

Endemic confidence upholds spirits as declarations intertwine, direct unflinching pains existence accredited frank anon disclosure. 

I'd never heard of Near Dark and was eager to watch Bigelow's take on vampires, co-starring so many Aliens alumni, that may be a cool double feature.

It doesn't create a world like Twilight or revel in myth and legend.

But its forlorn ritualistic candour.

Still facilitates crazed verisimilitude.

Bizarro romance.

Passion.

Doraibu mai kâ (Drive My Car)

The active life sustaining supple harmless interactive thought, consoling quirky consternation adept immersive ingenuity.

The calm and patient holistic vision stoic steadfast solemn varsity, pertinent adaptable expansive sizzle earmarked voltaic latent pressure.

But his (Hidetoshi Nishijima as Yûsuke Kafuku) loving partner (Reika Kirishima as Oto) suddenly passes when perhaps he could have intervened, or said something to swiftly alter the dismal moribounding hemorrhage. 

Psychologically deconstructed he gradually jukes and jets and jigsaws, slowly reimagining amenable principle through lighthearted chill experiment.

At one time he reflexively envisioned daunting twists tantalizing turmoil, without pause or critical reflection the plain and simple erudite schism.

But his wife first found the idea, after which he quickly improvised.

The working relationship romantically inclined freeform forgiveness inveterate l'amour, a rare gift celestially insatiable prolonged compression distilled adrenaline.

A common goal remarkably productive intermittent rowdy regenerative horseplay, benefits accrued conducive clutches laidback lax alert consistency.

Not one to overlook novelty, he notices his new driver's (Tôko Miura as Misaki Watari) abounding with pluck, somewhat forlorn yet still observant eager to multidimensionally disperse.

In possession of secrets so much distraction inanimate disconcerting dalliance, inopportune exported rationed irrevocable hardwire harrowing husk.

Kafuku winds up working with a young actor (Masaki Okada as Koji Takatsuki) who had an affair with his wife, the two awkwardly engaged through mutual love lost shin limitless lugubrity.

One young and blunt unwilling to hold back the thoughts which emerge to haunt him, the other sombre and much less eager to discuss such sensitive direct subjects.

Through these discussions a play takes shape as volatility blends with reason.

Only to ceremoniously fade.

Tragic rage.

Resurgent vellum. 

Peggy Sue Got Married

 With her high school reunion looming, former Prom Queen Peggy Sue (Kathleen Turner) embraces anxiety, post-graduation having not been ideal, inasmuch as her husband's (Nicolas Cage as Charlie Bodell) a cad.

But she's hoping he won't show up even if he's a local celebrity, who sells various commodities on television, somewhat profitable but also embarrassing. 

She finds a stunning dress and boldly makes a daring entrance, quickly running into cherished old friends, while avoiding questions about married life.

Yet pesky Charlie breaks his promise and suddenly appears with grandiose spectacle, old friends flocking to eagerly greet him, bucolic burnish, sedate success.

Peggy can't handle the pressure and swiftly and awkwardly passes out, only to awaken 25 years younger, having inexplicably travelled through time. 

A second chance having fortunately materialized she goes about making amends, notably with a brilliant overlooked science student (Barry Miller as Richard Norvik), and an articulate passionate artist (Kevin J. O'Connor as Michael Fitzsimmons). 

But she still can't outmaneuver her upcoming future, even if she gives her potential husband the cold shoulder, as she accidentally learns new pieces of information which startlingly tenderize his former life.

Will traditional unalterable patterns conjugally re-emerge with eternal contemporaneity? 

Or will she freely try something new?

Perhaps unprecedented amalgamations! 

Can't say I eruditely comprehend the practical realities of wedded bliss, as actively attained with vehement clarity bewildering intimate conjoined life.

When younger, it seemed like sharing my life with someone was indeed a wise path to follow, but having made it to middle age, I currently find I'm much more interested in steadfast freedoms.

Unfortunately, I was deemed misguided and too carefree for traditional alignments, generally because I wasn't prone to argument or daring extracurricular reckoning.

Thus, I was far too boring at a time when partners didn't seek reliability, but rather preferred prosaic drama and lavish spending and fierce discord.

But fret not if in a similar position of resolute tantamount stoic prudence, a day is coming when desire will wane and it will all seem somewhat ridiculous.

I imagine I'd be out the door by now if I had ever bothered anyhow.

I may have dodged a bullet.

Who knows!

Tomorrow, I'm sleeping in.

West Side Story

Intriguing to consider a massive fertile thriving landscape, where millions of people routinely flocked in search of work and wealth and romance.

If a more respectful and mutually beneficial way had been found to share the land with its Indigenous inhabitants, the situation would be even more compelling, true adventure emboldened quests.

West Side Story passionately chronicles a dispute between two groups who have yet to prosper, who fight each other for turf and are none too hospitable across the board.

The social safety net lacks efficient robust ubiquitous munificent potency, and even when it attempts to assist, its generosity is at times vilified. 

Love remains the key as it always has as it always will, two enthused youths from opposing ethnicities, their inspiring union communally detested. 

Perhaps it was that way when the feisty Irish moved to Québec in the 19th century, initial hostility eventually giving way to amorous endeavours through the passage of time.

There were none such clashes in my youth the different cultures tended to bond, coming together productively for a time ignoring race, religion, and class.

It's a preferable more constructive sociocultural model to craft, communally sound and reciprocally uplifting, generally united with the most predominant language, citizens free to speak how they want in their private lives.

There were jokes about race and ethnicity while I was growing up, but they were so ridiculous not many took them seriously, film and television often fought perverse racism, no one wanted to reignite despotic Naziesque tensions.

Unfortunately, misguided sensationalists overturned hard fought logical accords, instinctual rhythms lacking rational guidelines paving the way for bellicose jingoism. 

There's a fight near the end of West Side Story a wild clash between volatile leaders, followed by death and chaotic discord, desires for vengeance, shattered l'amour.

Steven Spielberg still deserves the nomination, this film is a masterpiece 50 years later.

The amount of planning that must have gone into it.

Incredible genius. 

Intricate fathoms. 

Red Sonja

An ancient stone of unknown origin provides power beyond control, if it's left to freely generate blinding inconsolable carnage.

Humble priestesses and a learnéd warrior (Arnold Schwarzenegger as Kalidor) have been tasked with its secret care, and ensure it's kept in the static darkness which greatly diminishes its strength.

But a mad Queen (Sandahl Bergman as Queen Gedren) hellbent on conquering and ruling new cities without much fuss, decides she needs the Talisman's power to proceed unchallenged and absolutely.

Her habitual wanton cruelty has earned her many impassioned foes, none more volatile nor intense than the potent nimble sword fighting Sonja (Brigitte Nielsen). 

It is true Sonja has no equal although many have sought her ruin, her family indeed murdered by the wicked Queen who left her forlorn and destitute.

Now she pursues this imposing nemesis with impeccable irate vengeful fury, but with the Talisman's energy invincibly conjuring victory seems an impossibility. 

Even though Gedren possesses enormous wealth she still seeks ubiquitous dominion. 

The Talisman destroying everything meanwhile.

As she recklessly engages unhinged infinity.

Fair play imagines a level playing field upon which there's equal opportunity, should participants desire some sort of prize by engaging in bold competition.

Through their active endeavours people learn to both lose and win, winning gracefully just as important as losing with composed dignity. 

In recent years, however, a lack of good sportspersonship has been promoted, at the highest levels imaginable it's most distressing not to mention abusive.

As Gedren seeks absolute power through the aid of forces far beyond her control, the incomprehensible proves much too independent but she still keeps seeking more.

It's like a mental illness inanimate greed seeking vast limitless power and wealth, the world's destruction inevitably resulting from the voracious envious lack of fair play. 

While Red Sonja and versatile Kalidor sternly adjudicate counterpoised rhetoric. 

It was so peaceful for so very long.

Acerbic acrimonious avarice.

Coda

A determined family diligent and vigorous emphatically fishes the unforgiving seas, overflowing with versatile camaraderie they make ends meet with vast productivity. 

But they grow weary of the paltry sums they regularly receive for their agile catch, and worry that perhaps they're being underpaid, as do most of their fellow fisherpeople.

The mother (Marlee Matlin as Jackie Rossi), father (Troy Kotsur as Frank), and son (Daniel Durant as Leo) can't hear, so daughter Ruby (Emilia Jones) takes care of most of the business, which often irritates feisty Leo, who feels he should be playing a senior role.

Governmental oversight suddenly demands they entertain an official intent on monitoring, but Ruby isn't onboard that day, and her family can't hear the coast guard when they come calling.

A hefty fine is administered along with distressing familial reckoning, should Ruby help out her family, first and foremost, or pursue singing at Berklee College of Music?

As the family goes it alone and tries to make more money by selling their own fish, Ruby struggles with her identity, and whether or not she'll always play that role. 

Without her they stand to lose everything.

And they don't have an alternative trade.

I probably wouldn't have left them. Ruby is essential to the business. She was irreplaceable and they can't afford to hire someone. And without her the result is possibly life on disability.

I'm lucky to have attended some good schools and to have received a solid education, but I wonder at times if I would have progressed just as well had I never attended school at all.

Probably not, with education came travel and a wide variety of experiences. Experience broadened my horizons and gave me more to think about.

Plus school challenges you in a way the real world rarely does. It's a unique rush you'll find nowhere else. And the assignments at times are incredible compared to the real world.

But my family wasn't relying on me.

And none of them have a serious disability.

But things work out in the movies (I moved back when I was needed at home during COVID) and there are lots of prominent artists who never went to school, if you can sing well you can sing well, a school can help you progress, but you can also do so on your own.

Coda is hopeful and feel good even at times as it despairs, but I still have to admit I felt bad for her family when she left, as if the film was portraying them like an encumbrance.

Ah well, that's just me, clearly many more people thought otherwise. 

Change is a wonderful thing.

Especially if it works in long held cherished traditions.  

Birdy

I was surprised to discover I had never heard of Alan Parker's Birdy until last weekend, although I may understand why after having viewed it, such a shame it's been widely ignored.

In terms of animal rights, and the presentation of people who like animals, beyond belovéd nature documentaries, it's perhaps pioneering in its narrative.

In Birdy, a friendship develops between a young adult who loves birds (Matthew Modine as Birdy), and another who's more mainstream (Nicolas Cage as Al Columbato), the two interact without trying to change one another, and their reciprocally constructive friendship thrives.

Al may think it's somewhat strange that Birdy dresses up as a bird and pretends to fly, but they also bond through the reconstruction of an old car, and in other creative unique ways.

Unfortunately, they're both sent to fight in Vietnam as the draft cuts short their youth, Mr. Columbato returning with a disfigured face, Birdy having lost his mind.

The chief psychiatrist at the hospital hosting Birdy decides a visit from Al may help, and they meet up in Birdy's cell, while the film showcases moments from their past.

Why have I never heard of this film, why has it been forgotten, should it be a Criterion, it's strange seeing Nicolas Cage play the straight man?

It's possible that Birdy's gay although he never hits on Al, but he certainly has no interest in women, this could explain why the film's somewhat hush hush.

A mainstream relatable cool and comic film with an ambiguously gay lead character who loves animals, makes friends, and critiques the army, a recipe for artistic suppression if I've ever heard of one, what a shame, what a disaster!

It's still out there though available for rent from different places.

It must be one of Cage's first major roles. 

Another reason I'm surprised I've never heard of it.

But in how many films do you find leads who genuinely care about animals, films that don't try to make such lead characters seem nuts, even if having to have had to have fought in a war has driven one of them crazy, while attempting to appeal to a mainstream audience, without being overly sentimental?

Not many, Birdy may be one of a kind although I'm sure there are others I'm just not thinking of.

I loved it when they rescued the dogs.

It's tragic when Birdy can't open the window.

There should be more films about gentle souls.

That don't even have to focus on the horrors of war.

A classic '80s film deserving of more recognition.

Perhaps too many lines were crossed.

But there's nothing quite like shifting boundaries.

Conceptually speaking. 

Nightmare Alley

How far should someone go when seeking abundant easy money, where to clearly draw the line between entertainment and ecstatic despair?

People actively seek to believe in mystic supernatural antics, in worlds beyond the concrete material physically composing so much life.

How much of this is healthy or how much goes much too far, are manifest questions which consistently go unanswered, but if your belief in the afterlife provides you comfort, and doesn't cost you a fortune, and you don't make political decisions because a bee landed on your ice cream, and you don't force other people to believe, and you realize it might all be bullshit, I really don't see much of a problem, comfort's an important aspect of life.

Claudius's relationship with the Oracle of Delphi remains mysterious, but who knows how much was true, and how much conjured for dramatic flair?

I've often thought that renowned "oracles" or "fortune tellers" were students of history from the future, who somehow managed to fit in with the past without being locked up for witchcraft or heresy.

If genuine clairvoyants exist today, why aren't they world renowned?

Perhaps they've been sequestered by the highest bidder.

And are lavishly tucked away.

I play the sign game because that's how my mind's always worked, ever since I was but a wee lad, I remember playing the sign game.

But it's off a lot, it's sometimes correct, but isn't reliable enough to make wagers.

Plus, when people realize you're like this they constantly try to trick you. So it's difficult to detect anything that's genuine. Not that it isn't still fun trying.

Nightmare Alley may be a solid horror film but that doesn't mean it isn't revolting, do we really have to see an unfortunate soul bite the head off a live chicken (with special effects)?

Sick in the head, no holding back.

If you want a celebration of the most miserable aspects of existence, hopelessly wrapped up in abhorrent ethical decay, you may indeed prosper from a viewing of Nightmare Alley, which presents harsh lessons for light of heart ambitions.

Don't try to swindle the rich and famous, the brightest lights, don't take things too far.

Life's too precious and worth much more.

There's more value in a dragonfly's existence than overflowing riches.

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.

Don't Look Up

Adam McKay's Don't Look Up picks up on a pesky political particular, the unfortunate despotic aspect of truth, as applied to commercial controversy.

As it's become plainly evident during the pandemic, at times truth does enter politics, void of cunning or incisive angles, just raw clear unimaginative data.

For the people willing to accept the truth value of the data, things remain rational and balanced, proceeding with impediments perhaps, but still reasonably and logically composed.

For those who doubt its legitimacy, or the well-meaning intent of the cultural guardians, the truth takes on a tyrannical aspect, however, and can effectively problematize polls and predictions as it honestly reveals frank shocking exposure.

The people in possession of the truth, in Don't Look Up's case two astronomers who discover a massive comet is going to crash into the Earth and destroy everything on the planet (Leonardo DiCaprio as Dr. Randall Mindy and Jennifer Lawrence as Kate Dibiasky), may be somewhat confused when they attempt to share their findings, and discover a virtually impenetrable network of ridiculousness, wholeheartedly designed to fight off tyranny. 

You see, when people attempt to spread mass lies on an enormous scale the system usually works, and generates enough doubt and troubling dismay to prevent rampant mistruth from mendaciously enabling.

But what happens on the other end of the spectrum when something both serious and true genuinely emerges, and has to pass the elusive litmus which initially regards it as obnoxious madness?

The people in possession of the knowledge may not be media savvy, and may have difficulty with their newfound designations, like the scientists in Don't Look Up.

And as the media crushes their dreams and makes them appear like snake oil salespeople, it also crushes blind ambition seeking widespread banal influence.

It makes any effort to sincerely pursue anything seem dispiritingly grim (besides being a part of the media), and it's no wonder alternative websites have im/moderately matriculated. 

But I suppose most stories aren't adamantly concerned with doomsday, it's just a byproduct of the pandemic that can't help but transmit that aspect.

I thought Don't Look Up was a brilliant take on truth in media, or the commercial politics of truth, as applied to the less media savvy.

I'm wondering what people will think of it 50 years from now down the road.

It seems like it has a timeless quality.

Made by Netflix no less. 

The Toy

A struggling writer suddenly finds he needs to come up with 10 grand, and has no job or book to speak of, but he's soon able to land a cleaning position, which he approaches with rowdy gusto, without a worry or care in the world (Richard Pryor as Jack Brown). 

He's somewhat too free-wheeling however, and soon he's reprimanded by his irate boss (Jackie Gleason as U.S. Bates), for disrupting the free-flow of his staff's communal meal, he's swiftly and firmly terminated.

But he doesn't leave he keeps on workin', still finding the time to wildly play, with showcased items in the toy department, while impressionable onlookers beam (Scott Schwartz as Eric Bates).

The curious shocked enthusiastic lead happens to be the boss's son, and he's been told he can have anything he wants, he rapidly chooses Mr. Brown.

Brown is instinctively aghast regarding the spur of the moment proposal, and has no interest in becoming a nanny, especially to a child so full of disrespect. 

But the father offers him ample compensation although it's not enough at first, but there's nothing he can do, the kid genuinely likes him.

His spirit's much more in tune with universal social democratic freedoms, and he's like nothin' Mr. Bates Jr. has seen before, at either the military college he glumly attends, or in his father's department store.

Brown teaches him about constructive criticism and enjoys the vast critical resources at his disposal.

Imagine pulling that off.

Unparalleled extrapolation.

The Toy bluntly examines taboo potentially shocking unsettling subjects, which may explain why it's somewhat hush hush, and might make a solid Criterion. 

It should be widely commended however for its frank condemnation of racism, and the ways in which it creatively vilifies high stakes segregating disparate tension. 

It also takes a heartfelt look at friendship with sincere honest and caring simplicity, an age-old traditional instructive strategy which produces results if not too sentimental.

If friendship did wholeheartedly flourish beyond race and financial divides, I would imagine the world would be much less violent, considering the catastrophic warlike Putin.

If there's too much of an emphasis on individualism teamwork falls by the arrogant wayside, but if the community becomes to one-dimensional alternative expression blandly suffocates.

Look for the historical periods where the golden mean consistently thrived.

Mutual respect incorporated.

Happenstance heartfelt harmonies. 

Licorice Pizza

The motivations behind Paul Thomas Anderson's Licorice Pizza remain somewhat mysterious, and may depend upon whether or not he's friends with Quentin Tarantino. 

Mr. Tarantino is well-known and highly respected for making brainy yet sensual nostalgic metakitsch, that seeks to recapture a raw aesthetic that wildly flourished in yesteryear.

His devotion to the genres is quite commendable, and when it works, a film for the ages, at least I'll keep watching Reservoir Dogs, Pulp Fiction, and Inglourious Basterds throughout my life, and will be up for checking out his other films one if not several more times, it's possible I missed something the first shocking run through.

With Licorice Pizza, Paul Thomas Anderson also seems to be seeking to resuscitate a bygone aesthetic, but it's difficult to determine if his attempt is genuine, in fact at times it seems as if he's subtly lampooning attempts to resuscitate bygone aesthetics themselves, unless I completely missed something, if this film's meant to be taken seriously, my apologies. 

I've missed new music in my life since the pandemic started and cut me off from my favourite festivals, I can always search for new music online, but I'm still kind of old school, I like to head out to find it.

The lack of new or old music I've never heard before in my life has made me highly susceptible to catchy songs I hear on television, even if at a later date I can't believe I was sucked in.

But that didn't happen with Licorice Pizza. It's soundtrack isn't classic Tarantino. I was confused by Bowie's Life on Mars which is an amazing song, but the rest of the music left me unimpressed, even though I'm highly susceptible. 

It made me think Anderson was deliberately choosing lacklustre songs to see if he could disingenuously stultify Tarantino's success, perhaps in relation to some harmless wager between the two, although it could also just be a simple matter of preference, but my sensors were somewhat bewildered, due to my heightened susceptibility. 

Some of the situations weren't particularly captivating as well, like struggling to find gas during a fuel crisis, or trying to sell waterbeds.

Was Anderson subtly lampooning an aesthetic he developed (I'm not that familiar with his films)?

The title also seems like something someone would come up with if they were trying to playfully criticize a technique or style they didn't genuinely respect, like something one of the male co-stars Anderson consistently critiques in the film for having no class would have come up with, and tried to laud as if it was something exceptionally astounding, which it isn't.

The ending's still quite well done, a traditional elevation of newfound love modestly blossoming amidst scandalous tomfoolery.

My apologies again if this was meant to be taken seriously.

Otherwise, a metacritical masterpiece.  

La soupe aux choux (Cabbage Soup)

Two old school disputatious farmers resist postmodern technological developments, and live carefree as they always have down home and grouchy suspicious of change.

They maintain a fertile plot not too far away from the closest town, where they have somewhat of a reputation for bold naturalistic bucolic disarray.

One chill and typical evening they freely exchange rebellious thoughts, delicately guided by flatulent fervour as bold inspiration strikes, when the random generation of lightning suddenly shocks contemporaneously, followed by an alien shortly thereafter, hoping to make first contact.

Communication proves somewhat difficult due to interplanetary divergence, but the exotic scent of M. Ratinier's (Louis de Funès) cabbage soup soon grabs the alien's (Jacques Villeret) rapt attention.

Things return to normal the next day after his swift departure, although the police must patiently entertain many wild stories concerning bright lights.

But the visits continue in search of knowledge and those who cast off every nuance of contemporary life, must come to terms with radical advancements intricately engineered in space itself!

The result is generally heartwarming as absurd independence thrives through reward, and is provided with everything its neighbours seek without having done anything to succeed or prosper.

Although within their scant exaggerations they still comprehend sociocultural rootiments, which progressively facilitate intergalactic uproar, and newfound extraterrestrial resonance.

Who's to say what's to be shared with visiting aliens should they journey to Earth, with millions of potential imaginative cues it's difficult to say what's to be showcased?

I would probably mention craft beer to be appreciatively consumed in moderation, along with nutritious cheese accompanied by fruit and pieces of bread.

I may also recommend literature and film by promoting a well-balanced approach, the perusal of clever dramas and enticing science-fiction at times contradicted by not-so-serious comedies. 

Would my humble and generous gifts perhaps lead them to share the secrets of space travel, provided without much encumbering cost, along with a vast network of inhabited worlds?

I can't say for certain if that would come to pass, but why not dream of sundry potential outcomes?

Like Jean Girault did when he made La soupe aux choux (Cabbage Soup),

A lighthearted piece of endearing diplomacy.  

The Power of the Dog

Inherited prestige respectfully maintained calm settled prudence rambunctious accord, the arduous management of a prosperous ranch producing tensions through divisional labour.

The less gifted compassionate brother humbly seeks the domestic life (Jesse Plemons as George Burbank), and finds himself smitten with a hardworking lass who successfully runs her own popular business (Kirsten Dunst as Rose Gordon).

The other bro is habitually suspicious of any glad-handing enamoured newcomer (Benedict Cumberbatch as Phil Burbank [outstanding performance]), and prefers rough and tumble emphatically coarse hands-on physical quotidian forays.

But marriage soon dawns and with it not only a new likely permanent intelligent influence, but also a shy otherworldly distraction who makes a poor fit with bellicose life.

The productive bower audaciously enlightening belligerent desires for risk and privation, must suddenly accept appeasing elements which may even at times utter contradiction.

But even more, there's a nerve-racking secret that could incite revolt upon their orderly lands.

Or lead to comic disorganization.

Or catastrophic open truths.

It's a haunting solemn new age Western thoughtfully investigating masculine culture, from complementary bucolic perspectives, that have severely re-emerged as of late.

A way of life whose requisite content has not doubt mutated hectically for millennia, still embodies formalities immemorial assertively nuanced in varying degrees.

George takes the logical approach wisely accepting the rigid code, while leaving room for something more that may also integrate feminine cultivation.

Strength is a relative term and has myriad applications beyond what you can lift.

Why embrace strenuous impediments?

When there are so many new developments to ease your burdens!

A way of life I suppose, it's tough to give things up, especially if they're psychologically associated with good times from your youth, and corresponding senses of invincibility. 

Trying new things can help establish new paths to explore and consider, however.

While at times old methods hold true.

Nothing like a bit of old school trial and error.

Blended with postmodern reliability. 

Battle Beyond the Stars

A peaceful world universally renowned for its lighthearted communal levity, is suddenly threatened with total destruction, by a lethal tyrant and his mutant army, who possesses a formidable weapon. 

The planet lacks technological distinction but at one time created a ship, to explore the surrounding stars with inquisitive pluck and attuned recognition. 

In their darkest hour of woe of young adventurer commands this vessel (Richard Thomas as Shad), and sets out in search of mercenaries to defend them from the ruthless Sador (John Saxon). 

His courageous exploration is soon audaciously rewarded, as he's able to find able bodied romantics eager to fight a hopeless battle.

Even though scant retribution can be fortuitously paid, they fight resolutely with stalwart will for resounding intergalactic accolades. 

A curious cast of alien life is correspondingly assembled, from diverse realms with eclectic creeds vigorously applied to the newfound mission.

Not to mention inchoate love hectically maturing in the heat of battle.

For two brave modest souls.

Attuned to devout strife.

Playful sci-fi often flops but you could do worse than Battle Beyond the Stars, whose mischievous investigative libido strives in bold rambunctious posture.

Heavily influenced by Star Wars not to mention Star Trek and Seven Samurai, it still brazenly crafts a randy wide-eyed contumacious original vortex.

It plays clever tricks with expectations at times, notably the potential Cantina-like homage, which turns out to be a generally deserted planet, Jimmy T. Murakami 1, J.J.Abrams, 0.

From ceremonious synthetics to vehement Valkyries, Murakami reconstructs the imagination in space, I applaud his bold respect for Seven Samurai, not easy to pull off forlorn amongst the stars.

I searched to find an article claiming that most of the actors from Battle Beyond had had guest Star Trek appearances. I didn't find one (boring!). Levels of postmodern nerd-dom still haven't reached ecstatic heights! 

Sometimes, every scene within a film takes on a lifeforce of its own, the accumulated resonance of the trails and errors constituently reverberating notwithstanding.

For fans of alternative sci-fi I'd say Battle Beyond the Stars can't be missed.

Awkward. Innocent. Daring. Uncanny.

Why not throw in some mutants?

Can't speak to its lasting influence. 

*Here's a cool list of celebrity guest star appearances on Star Trek.

Belfast

I've always loved the scene in Doctor Zhivago when Yuri Andreyevich is asked how he'll live within the newly formed Soviet Union, and he simply states something like, "[I'll] just live".

You see he isn't seriously interested in politics or religion or ideology or revolution, but rather just in simply living a quiet life with friends and family.

Such peaceful ambitions in volatile times permeate much of Belfast's learning, as it generally focuses on three generations of a loving family from Northern Ireland.

It's sweet and tender, wild and forthright, innocent and wise, confused yet earnest, as its characters attempt to simply live surrounded by shortsighted religious tension.

If you've ever wondered how life persists when dangerous idiocy turns culturally violent, I'd argue Kenneth Branagh's heartfelt Belfast is a superlative exemplar.

Plus, if you happened to have watched Branagh's Henry V when you were in high school, and felt cool when after 15 minutes or so you generally understood the language, and then thought he was one of the coolest directors around, and then waited for years, while generally enjoying his films, for that one that stood out as a genuine artistic masterpiece, unconcerned with status or popularity, just overflowing with artistic soul, look no further than his brilliant Belfast, a potential companion piece for Doctor Zhivago.

I guess I never mentioned that my father was a religious man, who attended mass practically every Sunday of his life. It gave him a general sense of peace and calm and when the pandemic prevented him from going, he lost his life.

My father was a religious man but he wasn't strict or nutty or ridiculous, he still believed in medical science and evolution and even loved great writing and argument (like other friends I've known who are religious).

Unlike austere religious people, he made you feel welcome within the church, and didn't judge or critique or fear you because you were different or strange or inquisitive.

I think about the church at times but apart from dad, there's been a lot of disillusion, and I generally prefer how things are done in Québec, where science actually makes prayers happen.

That's just me though, I'm not here to judge, but I really don't get it when religions start fighting, especially different denominations within the same religion, it seems incredibly foolish, not to mention, totally nuts.

So many productive lives ruined.

In the name of saviours who preached peace.

I'm old enough to accept that it happens but I'll never make peace with such reckless idiocy.

Belfast is a must see film.

The pursuit of life beyond disparate violence. 

Houseguest

A young ideas man diligently dreams about a much larger monthly income (Sinbad as Kevin Franklin), invariably believing he'll find a way to conceptually cash in.

Un/fortunately, this habitually leads to difficulties paying his bills, since the working world consistently eludes him as he haphazardly seeks instantaneous riches. 

Due to his lack of funds, he decides to borrow from alternative sources, who send their goons a' rambunctiously calling after he fails to pay off his debt.

They're also outrageously charging an unattainable extra 45,000$, which leads to an impromptu departure for the nearby local airport.

As fate would have it, a suburban success happens to be awaiting an old friend as he dips and dodges (Phil Hartman as Gary Young), an old friend whom he no longer recognizes after a 25 year interlude before social media.

Kevin claims to be the old school friend and soon he's resting safe in the 'burbs, with his own room and hot meals no less, and the family's unconditional trust.

He presents an alternative disposition on festive occasions and in general conversation, to the one their neighbours are used to, although the shocks are intriguingly harmless.

But he lets a close friend know of his whereabouts with the goons still eagerly searching. 

Will they expose his endearing ruse?

And force him to work for a living.

Had he been less of a romantic his expedient mendacity may have inspired concern, for seeing the heartfelt efforts of the kind and well-meaning taken advantage of can be unnerving.

But he wasn't about to generate offhand long-lasting disingenuous schisms, at least not after hanging out for awhile, and starting to seek genuine friendship.

I imagine if no one wanted to work the maintenance of some infrastructure or other would prove disastrous, and preponderant chaotic uncertainty would wildly reign with emphatic triumph. 

But why should so many spend so much time working while so many others have nothing to do, the latent desire to freely laze about not the exclusive psychology of the rich and famous.

A popular idea espoused by many which still passionately persists this postmodern day (although you rarely hear about it), and brought about constructive socioeconomic developments like the 40 hour work week, sick days, and vacation pay.

It seems like a friendly compromise since there's work but also time for family.

Infrastructures will no doubt endure.

As should the practice of adopting houseguests.

Sinbad: Legend of the Seven Seas

Two friends choose a different path upon the raging seven seas, one upholding peace and spellbound honour, the other engaged in piracy.

They meet one fateful day when a mythical beast attacks one of their ships, as the other tries to rob it, he's after the seminal Book of Peace.

As is the covetous Goddess of Chaos (Michelle Pfeiffer as Eris) who has to admit she finds Sinbad (Brad Pitt) attractive, so adorable she maddeningly establishes a series of treacherous tests for him and his crew.

But first she disguises herself as Sinbad and lets herself be seen stealing the Book from Syracuse, where nobles have gathered from across the land(?) to take in its ethereal wisdom.

Sinbad swears, "'twas not I", but the royalty stubbornly refuse to believe him, and sentence him to a violent death, from which there's no escape.

Unless his childhood friend (Joseph Fiennes as Proteus) should agree to take his forlorn place, and triumphantly await his valiant return from the Realm of Chaos with the Book.

Accompanying him on the journey is Proteus's illustrious betrothéd (Catherine Zeta-Jones as Marina), whom Sinbad's loved since the moment he first saw her, so many years ago.

Thus should one consider honour he or she will find it on display, in this bold and virtuous undertaking known as Sinbad: Legend of the Seven Seas.

Purists may critique the interpretive flair presumed to adjust the recourse to legend, but who's to say with authentic pluck what really took place so long ago?

If perhaps concerned with specific volumes canonically upheld as verifiable postage, a difference of opinion may sapiently simmer, but the film was made when the '90s still held sway (2003), and there were so many multitudinous creative ruptures. 

I can't say I kept in touch with currents and trends for the past 20 years, as their vicissitudes mutated into newfound critical and philosophical voyages.

It seems that relativity no longer holds sway however as an advisor may have mentioned, even though ethically and experientially it makes more sense than other less inclusive strategies. 

It was always generally heartwarming to think historical figures were being lightheartedly re-imagined, but it seems like perhaps the purists are still intent on re-establishing a more rigid code.

With Putin on the warpath there's no mistaking absolutist pretensions. 

Trump, the Plague, Putin.

Why ever leave the island of Montréal?

Big Top Pee-wee

Immoderately immersed in mirthful grand performance, Pee-wee (Paul Reubens) sleeps the sleep of angels, peacefully awaiting another day, after having taken up farming.

Things run smoothly throughout the day as he cares for his many animals, who enjoy beneficial loving novel caring warm down home attention. 

Pee-wee also conducts advanced research into curious crop cultivation, having created an experimental formula which smoothly encourages rapt abundance. 

Unfortunately, he's not well-liked by the suspicious surrounding townsfolk, who critique his unorthodox ways and general flip alternative wherewithal.

They're even less impressed when a mighty storm blows a circus to town, which lands on Pee-wee's farm, and decides to put on a striking spectacle. 

Pee-wee makes new human and animal friends as the artists passionately rehearse, and even finds himself enamoured with a newfound trapeze expert (Valeria Golino as Ms. Piccolapupula).

But will Pee-wee's heartfelt accommodation be enough to encourage the distressed townsfolk, to abandon their strict routines for a night out under the nearby big top?

So much time spent trying to logically deal with rational exploits reasonably accrued, that impromptu absurd acrobatics present odd vital sincere parity.

Not just the hotdog tree or the supple pioneering pig (Wayne White as Vance), but the lucid sense of compelling wonder that drives wild ludicrous imagination.

Perhaps they shouldn't be in charge of stern prosaic determinate consistencies, so much requisite quotidian reckoning modestly attuned to predictability. 

But shouldn't such manifest grain not be adorned with counterbalancing nuance, to promote extemporaneous serendipity at times throughout the working day?

Thus as the routine despairing delineations approach concrete banal immutabilities, the bizarre shocks and unsettles somnambulism to sustain lighthearted active metamorphosis.

Just as it's nice to have reliable routines when shocks turn to harrowing frights, responsibilities generating forthright designations seasonally aligned to nurture balance.

Big Top Pee-wee brings these spectrums together in animate judicious active definition, to demonstrate holistic productive health, thoroughly enriched through compassionate understanding.

As unequivocal rewards endearingly impact age old ambivalent inquisitive uncertainties, the wolf howls and the dragonfly zings with erudite sonorous sprightly melody. 

Like Dale Cooper's daily treat it can be something never encountered before.

Beware if it happens to be smoking.

Even 4 months later, it's tough to quit.

L'Atalante

A lonesome ship captain (Jean Dasté as Jean) finds himself a daring bride (Dita Parlo as Juliette), who courageously agrees to move onboard without a confusing hassle. 

Wedded bliss initially abounds as they travel from port to port, stopping in different cities and towns to embrace the local culture.

The first mate's a gentle eccentric who's found a niche to creatively conjure (Michel Simon as Le père Jules), the chill and abiding distracted captain having no problem with all of his cats.

When at sea he playfully finds various ways to amuse and entertain, while instructing the other members of the crew, at times even causing mischief. 

Unless otherwise afflicted he freely engages with wondrous vigour, curious to see what tradespeople showcase in their different shops when browsing ashore.

His carefree life is abruptly unhinged, however, when the captain erupts in a jealous fury, after his wife goes shopping alone without having told him where she's going.

The ship departs without belovéd focus in a callous reckless rage, the bride confused and emphatically crestfallen when unsuspectingly remerging.

It's up to le père Jules to reunite them (and save their jobs) if tidings be.

His merriment thrust afoul.

He departs for search and rescue.

At times your diligence is rewarded with an unexpected brilliant trajectory, overflowing with convivial abundance thoroughly enriched by awestruck tremors.

Le père Jules is one such exemplar and Jean Vigo's L'Atalante one such film, with innate incomparable gravitational intensity delicately nurturing improvisation.

It's always a  mistake to imagine the present as holding an unparalleled take on originality, not that novel films and books don't reside within, but other epochs also flourished creatively.

Perhaps Jules was inspired by one of Dickens's many compelling eccentrics, I really can't say, but he's the earliest example of a virtuous rogue I think I've ever encountered in cinema (1934).

It would be cool to work on a boat but what's even more, a boat full of cats, on top of that, a room full of oddities randomly acquired from around the globe.

Fully capable in times of trouble at others much too agéd to take things seriously, Jules has become one of my favourite fictional characters, in his travelling home upon the sea.

Well deserving of a remake in different languages in different countries, I wholeheartedly recommend the joyous L'Atalante to celebrate chill ideas and endearing personality.