Café de flore

Devoted love painstaking parenting newfound nuptials holistic heartbreak, the omnipresent ahistorical interdimensional august flow.

A separation immersive pain prolonged predicaments distressed feelings, dreaming that they'll get back together, even though he's (Kevin Parent as Antoine) found a new partner (Evelyne Brochu as Rose). 

They got together when they were young magnetic maelstrom adolescent l'amour, embracing age old romantic uproar delicately designated bold true love.

But habitual trials enervating ennui and too much alcohol led to crisis, opaque sustained imparted uncertainty, confused inanimate starling stasis.

Meanwhile, in the 1960s, a husband leaves his loving wife, after learning their child is differently abled, an act of headstrong blunt barbarity.

But she's resilient determined and willing to help her son live a normal life, and daringly proceeds with enriched vigour soulfully strengthened through motherly love.

As grieving Carol (Hélène Florent) seeks a spiritualist to shake things up surveyed and spooky, she becomes aware of the mother's struggles (Vanessa Paradis as Jacqueline), as if she's reliving a former life, the shock encouraging disconsolation. 

Impounding grief entropically emblemizes static autosuggestive dissonance, but good friends and heraldic compassion ease the burden heal the wound.

Jean-Marc Vallée possessed great gifts for sharing intimate gentle thoughts, and through his innate joyous wonder crafted amorous lucidity.

A mom surprises her son (Marin Gerrier as Laurent) with chase or adoringly awaits his seaborne vessel, a psychologist (Michel Laperrière) knows just what to say without really saying anything at all.

A couple may have broken up but they still focus on past love, on the enchanting thoughts that brought them together, the world they amicably constructed.

Café de flore bounces back through time sympathetically blending thought and emotion, as they relate to relationships and family, like a passionate active mind.

Controversial questions are raised at times and give no definitive answers, freeform lifelong social exploration innocently contesting the blasé life.

Some people have trouble letting go and heal more sincerely with kind reflection, Café de flore's thoughtful evocative testament fomenting mutual post-conjugal health.

It's nice to see characters who try to focus on the positive.

Diversification, discovery, peace. 

What a filmmaker.

What a life!

Birds of Prey

A world wherein which consequence and repercussion have never been considered laments freewheelin' largesse as Harley Quinn (Margot Robbie) breaks up with the Joker.

Not a kind world by any means, as ill-composed as it is bellicose, supplying notions like wholesome and sentimental with animate vigour in their shocking absence.

She's sought after by many for different reasons artichoke, and must chaotically improvise to avoid painful brash comeuppance.

Yet she still visits local restaurants and chills at her trusty pad, having rescued a coveted pickpocket who's swallowed a precious diamond.

It contains instructions you see as to how to amass an enormous fortune, and crime boss Roman Sionis (horrible representation of gay people!) (Ewan McGregor) will pay 500 grand to get it.

So Quinn and others find themselves at odds with the irate extravagance, and the aggrieved forge a feisty clique as versatile as it is combat ready.

Those are structural facts although they're by no means determinate, the tale abounding with nuts and nuance intriguingly enunciated.

The clever albeit absurd script keeps at it with unnerving style, non-linear nimble necro accelerated cranked attire.

Not the place for guile or sympathy sorority notwithstanding, cruel worlds enraged colliding mistook madness high stakes shallows.

Necessitous individualism.

Nebulous crazed existence.

All goes well the first run through throughout the reckless merge, the alarming detonated detail shell-shocked, revealing, zesty.

Gotham's controlled by men whom the feminine contest not so shyly, exonerating tactile teamwork independent disputatious.

New characters abound so introductions are in order, the Canary (Jurnee Smollett-Bell), Renee Montoya (Rosie Perez), the Huntress (Mary Elizabeth Winstead), and Cassandra Cain (Ella Jay Basco), profiles crafted, futures fathomed.

DC is seriously impressing these days with Joker and now Birds of Prey, nothing that uplifting about either of the films, but they're still ironically well thought out comic book distractions.

Just need to work in the Justice League (or Deadpool) and maintain the creative style.

Birds of Prey keeps reinventing itself with observant discursive fury, right up 'til the traditional end, order out of groundless chaos, a bit repetitive but still compelling.

I hope the Birds have some more of their own films and don't just show up to aid the Batman.

Nice to see the change of pace.

Happy Valentine's Day!

Ted

Magic and a child's dream of having a friend brings a cuddly teddy bear to life in Seth MacFarlane's Ted, thereby transforming little John Bennett's (Mark Wahlberg, Bretton Manley) existence from one dominated by loneliness to one permeated with joy.

With neither responsibility nor consequences.

And an inexhaustible supply of the kind.

But the introduction of John's steady love interest Lori Collins (Mila Kunis) and their 4 year relationship threatens to end John and Ted's (Seth MacFarlane) non-stop binge, and a hitherto unimaginable strain threatens their impregnable friendship.

Obviously things need to change, and Lori is exceptionally relaxed and understanding, but after Ted moves out and John continues to haplessly disregard his social and economic obligations, things fall apart, and he finds himself back on his own.

Struggling to get by.

Mr. MacFarlane's undeniable gift for packing his scripts full of nostalgic pop cultural references does not struggle, however, and Ted's narrative is jam packed with witty intertextual memorabilia (also written by Alec Sulkin and Wellesley Wild).

Johnny Quest is mentioned.

Ted Danson makes light of his more successful Cheers co-star Woody Harrelson in a bit of playful bad taste.

And Ted's answer to The Wedding Singer's use of Billy Idol impresses at first.      

A lot of the jokes are funny, but the consistent barrage of cheap shots loses its appeal as the film unreels.

While some movies use repetitive jokes effectively (Paul's three boobs for instance), the devices Ted borrows from Office Space grow tiresome and the second half doesn't hold together well.

The subplot involving Donny (Giovanni Ribisi) is taken way too far.

As is the use of Ted's Billy Idol.

And the nauseating Rex (Joel McHale).

Too much reliance on knee-jerk reactions and not enough on strong character development, Ted flounders where it could have flourished and applies the brakes when requiring acceleration.

I've seen Adam Sandler movies that were better.

Seriously.