Yogi Bear

Jellystone Park is in dire straits. Wicked politician Mayor Brown (Andrew Daly) has decided that its trees must be harvested in order to raise enough capital to keep his bureaucracy functioning. He supports his decision through recourse to a bylaw which states that government supported organizations must earn enough money to cover their operating costs each year, and Jellystone is tens of thousands in the hole with less than three weeks to come up with the cash. Ranger Smith (Tom Cavanagh), documentary filmmaker Rachel (Anna Faris), Yogi (Dan Aykroyd) and Boo Boo (Justin Timberlake) are none to impressed and immediately launch a campaign to sustain their way of life. But subterfuge and treachery are afoot and due to the fact that they don't coordinate their fundraising efforts, Jellystone is threatened with annihilation.

Eric Brevig's Yogi Bear amusingly examines the dynamics of federal and provincial politics. As the right uses local laws to attempt to destroy a public resource, only a national regulation can be applied to thwart it. The left is divided and it isn't until they learn to collaborate that a successful counterattack is launched. The idea that government supported organizations must cover their operating costs is clearly embedded in the script, a fiscal challenge to the sacred cultural essence of parks such as Algonquin. Do logging companies want to cut down the trees and exploit the resources within these Parks? I'm sure some of them do. Do they have deep pockets and lobbyists who are consistently trying to find ways to break down the legal protections preventing them from doing so? Methinks it's most likely. Is it a good idea to promote a fiscally responsible environment wherein such parks cover their operating costs? Sounds like prudent planning to me. But should said parks be commercialized in order to achieve such goals at the expense of the endemic wildlife etc. whose proliferation reflects the purpose of such parks? Definitely not, and for a good example of the negative impact on protected wildlife within commercialized parks see The Grizzly Manifesto by Jeff Gailus. He's smarter than the average bear!

True Grit

Revenge. Determination. The Law. Bold teenager Mattie Ross (Hailee Steinfeld) is determined to hire a lawperson in order to bring the man who murdered her father to justice, and she possesses the stubborn constitution and iron will necessary to do so. Refusing to allow the stereotypes regarding her age and gender thwart her, she convinces the grizzled alcoholic U.S. Marshal Reuben J. "Rooster" Cogburn (Jeff Bridges) to pursue, and accompanies him along the way. The bumbling Texas Ranger La Boeuf (Matt Damon) is also in search of their quarry and the ensuing relations between the three roughhouse traditional conceptions of law and order. Cogburn and La Boeuf are like a rugged cantankerous reflection of Sherlock Holmes and Dr. Watson and their argumentative dialogue complicates matters before the Coen Brothers round up their complementary strengths and weaknesses (it's as if they've taken a "good" standard lawperson, separated him or her into two, provided both personalities with piss and vinegar, and then used [in this case] feminine strength to bring them together). Mattie saves them from themselves and maintains a firm influential grip, perhaps suggesting that as patriarchal conceptions of the good drink and qualify themselves to death, strong young women will revitalize and recast their semantics, maintaining a prominent place for men while creating one as equally influential for women, thereby manifesting true grit. The fact that her efforts are only substantialized through a stroke of somewhat random good fortune suggests that an egalitarian feminine and masculine distribution of power may be generated both legally and politically and treated as if it was evolutionary publicly, if and only if the actual composition of its resonance is dependent upon frustrated logic reinvigorated serendipitously, i.e., the introduction of and capitalization upon a paradigm which oddly corresponds to and uplifts its socialized framework, something formally similar to Lafontaine and Baldwin's use of restraint in the 1840s. A catalyst, a cyberstone, something from within. Good film.

Black Swan

Discovering that hidden talent, the improvised malevolent sensual complement to your precise demanding technical expertise, with competitors vindictively waiting in the wings, with a smile and a patronizingly friendly remark, ingratiating, lackadaisical, treacherous, while a mental illness, hitherto concealed and dominated, can no longer be subjugated as pressure reallocates psychological resources to spontaneous professional challenges, and exquisitely chaotic repercussions must be embraced. Mother will learn to adjust. Romance is simply an illusion. He could certainly be more of a prick. It's the seductive consequence of perfection. Darren Aronofsky once again coaches his cast into delivering first rate performances as Natalie Portman internally glides her way through Swan Lake. Intertwining an artist's subjective deconstruction with her universal adherence to and revitalization of performance standards, Black Swan suggests the costs of multidimensional characterizations can indeed be extreme, if not everlasting. Smutty and taciturn and evocative and sinister, paranoia is unleashed and interrogated as Nina Sayers learns to dance the Black Swan. While her paranoia is logical, as it increases in proportion to her responsibility it realistically manifests her worst fears and results in her best performance.

The Voyage of the Dawn Treader

Tough to discuss the latest instalment in the Chronicles of Narnia film series without looking at the difference between fantasy and reality as seen through the eyes of pesky newcomer Eustace (Will Poulter), the movie's principal saving grace. Eustace is a mischievous trouble maker whose perspective is governed by fact and he is none to happy with the fact that his cousins Lucy (Georgie Henley) and Edmund (Skander Keynes) are currently living with him. Alas, he is also none to happy when his factual world disappears altogether and he is transported to the realistically-fictional world of Narnia. Expressing his discontent in a number of flamboyant tantrums, Eustace must come to terms with the fantasy in which he has been cast in order to save what remains of his scientific marbles. Thankfully, as he seems reluctant to do so, he is transformed into a giant dragon after inappropriately handling a hidden deposit of gold. As he comes to terms with his scaly scorn, things take a turn for the better, and he is eventually instrumental in defeating the forces of evil.

Seems to me anyways, the dragon being a symbol of the unconscientious nouveau riche, if Eustace were to continue on his present concrete path within the real world, he would have become a miser, breathing impenetrable critical fire wherever he causticly tread. By embracing the fictional realm of Narnia, which realistically molds him in his traditional symbolism, he develops a generous spirit which becomes socially conscientious, like Mr. Scrooge, and begins to help everyone. Thus, we are provided with a basic differentiation between the aristocrat and the oligarch, the one who believes they have an obligation to nurture their community which involves listening to that community's input, and the one who believes they own the community and it should therefore bow down to his or her pressure. By recognizing the realistic beauty inherent in fiction, quests, adventures and what not, Eustace begins to qualify his reality with a wider array of fruitful principles, theoretical hypotheses being an intrepid scientific catalyst, progressive thinkers believing in universal healthcare materializing various tenants of several religious focal points, which, are unfortunately upheld by a King to whom everyone bows, and well, I'd rather not get into it.

It's the holiday season.

Sympathy for Mr. Vengeance

A kidnapping scenario where everything goes wrong. The sympathy generated is profound insofar as its apolitical nature sophisticatedly reexamines traditional dichotomies and leaves one anchored in an ambiguous, amorphous juncture. An organ transplant is required. In order to gain the necessary funds a child is kidnapped. After the ransom is delivered, the child accidentally dies. The police and the past-the-point father investigate while a terrorist organization keeps tabs. High and low, rich and poor, everyone is deconstructed while a sadistic sense of humour consistently produces feelings of guilt. Not for the faint of heart, Chan-wook Park's Sympathy for Mr. Vengeance convolutedly presents a nocturnal psychological thriller which playfully and insouciantly complicates its volatile subject matter. Distinct and provocative, it mischievously detonates a compelling aesthetic which creatively questions its audience's motivations. More subtle than Oldboy and an insight into what it's like to live without universal healthcare, Sympathy for Mr. Vengeance oscillates and undulates while establishing definitive strikes, a mutated dialectical homage to kaleidoscopic terms of endearment.

Nadja

Pleasantly awkward ridiculous dialogue effectively normalized and elegantly delivered, in scene after scene, as if an electromagnetic butterfly is quietly lamenting its misshapen cocoon, delicately fluttering from one petal to the next, breathing in the air, analyzing the moisture, multiple seductive themes variegating its flight, the wind's benevolent seniority quaintly clarifying its path, Michael Almereyda's Nadja revitalizes Bram Stoker's Dracula through sheer complacence and subterranean muses, voluptuously illustrated, magnanimously debated, by a multidisciplinary soundtrack, a haunting, viscidly structured purpose, a metamorphosis incarnated, a resurrection infuriated, mesmerizing, juicy tidbits lusciously lounging within your consciousness, united, shattered, synthesized, compartmentalized, with no particular goal, no definite objective, besides a sister's love for her brother, a husband's undying devotion, a nurse's attentive care, and a hardwired eccentric romantic. Like Nathalie Parentau's paintings, Nadja's subjects are surreal, affectionate, verbose, and dynamic, uttering convulsive resurgent facts, determining sundry, fervid pronouncements, observing dreamlike, rustic reverberations, and organic, felicitous statements. Immediate and everlasting, it gently settles in the underbrush, and shivers.

Unstoppable

Enjoyed Tony Scott's Unstoppable prior to engaging in further reflection. Overtly, it's an entertaining, generally modest, popcorny thrill-ride wherein two blue collar workers heroically save the day. Issues examined: the hardened worker with 28 years experience must deal with the green newcomer who thinks he knows it all; the ways in which nepotism haunts unions; the ways in which executives ignore the advice of their subordinates and make decisions with only the interests of profit in mind; jealousy's rueful mania; the notion that the good of the many outweighs that of the few; labour costs; the dynamic forged by corporate-media relations during a moment of crisis. Not very many Female characters within and I'm assuming Scott found some of his funding from Hooters. Fox news is legitimized which I found disconcerting. Blue collar workers who have a mistrustful eye regarding unionized labour are provided with a more profound degree of sincerity. Many scenes lack emotional depth, as if the actors are trying to finish several sequences quickly and efficiently throughout the course of a day, focusing on production costs rather than art. Sorry to say that the sum of these parts equals a subtle, sinister form of Republicanism, dangerously barreling down North America's cultural track. If we imagine Denzel Washington and Chris Pine's characters as representing United States Senator from Vermont Bernie Sanders, then Unstoppable's Republican agenda can be deconstructed and revitalized however. The film concerns a runaway train that must be stopped before its toxic contents destroy a section of Stanton Pennsylvania.