Still Alice

A high-functioning established warm caring multifaceted professional is confronted at the height of her career with the onset of Alzheimer's disease, and its effects quickly take hold.

She's a fighter, accomplished and strategic, boldly doctoring her plight, taking things in stride, coping, achieving, her family coming to her aid to help out wherever they can, together functioning as a cohesive unit, through strength, distress and helplessness increasing as time passes, slowly transforming into stoic acceptance, the acknowledgement of pain.

Still Alice maturely approaches illness from fruitful familial viewpoints, Alice Howland's (Julianne Moore) husband and children supporting while suffering to do what they can.

Julianne Moore delivers a career defining performance as she pluralizes her conception of identity, stunningly adding varicose variabilities.

There's a great scene where her new self communicates with a predecessor via a preprepared homemade video, a buoyant succinct butterfly.

Her alpha husband (Alec Baldwin as John Howland) convincing juggles his urge to dominate with his expressions of sympathy, respected by Alice through understanding, his attempts to hide his frustrated emotions callously manifested at times.

He has trouble halting his progression.

The children react as befits their personalities, aptly introduced through the art of conversation, the daughters featuring more prominently than the son.

The family's love holds back its depression although it could have been more sorrowful.

Hope in the darkness.

In tune.

Shoot the Piano Player

Sacrifices which destroy the prosperity they engender. Dreams for the future challenged by the threats of the past. Petty jealousies destabilizing the security of the present. A struggling artist trying his best to avoid loving and being loved. François Truffaut's Shoot the Piano Player presents Charlie Kohler (Charles Aznavour) as he makes his living playing the piano in a Parisian bar. Waitress Léna (Marie Dubois) has fallen in love with him and seeks to resurrect his dematerialized fame. Initially content to continue practising his honky-tonk, the power of love reinvigorates his pursuit of something classical. But brothers and gangsters and reflections and passions stand in his way as he psychologically rediscovers the life he once flourishingly possessed.

Shoot the Piano Player's cultivated underground jovially analyzes universal materialistic themes such as marriage and commodity acquisition, deviously situating Truffaut's observations in scenes traditionally used to establish a predetermined variety of character and mood. The resultant character and mood he establishes is therefore composed of startling insights extracted from various experiential outcomes whose histories convivially salute the unexpected. The scene where the thugs discuss their material goods with Fido (Richard Kanayan) after kidnapping him is first rate. Minor characters are given room to breathe, Raoul Coutard's cinematography illustrates the compact social nature of a bustling metropolis, and dreams synthesize with desires to produce a productive yet troubled practical theoretical posture. Its mainstream narrative is full of stipulated thoughts concerning art, careers, and gender relations, stipulated thoughts whose content is romanticized by their underground foil.

Charlie just wants to play the piano. Other people problematize his plans. Léna reminds him of the concerts he could still be performing. His community reminds him that other people still desire Léna.

Paul

One of the most comfortable science-fiction comedies I've seen, Greg Mottola's Paul introduces several distracting characters whose down home urbanized savvy fuels a quaint campy road trip. This road trip includes science fiction writer Clive Gollings (Nick Frost), his best friend Graeme Willy (Simon Pegg), a devoted Christian (Kristen Wiig), and a pot smoking trash talking fun lovin' alien named Paul (voiced by Seth Rogan). Paul has escaped from the military facility which held him prisoner for decades and used his advanced knowledge to drive various technological/pop cultural/industrial/. . . economies.

He seeks to return home.

Clive and Graeme have arrived in America from Britain to attend Comic-Con and then travel the midwest. They accidentally meet Paul on the side of a highway one evening and agree to help him reach his destination. In hot pursuit are Agent Zoil (Jason Bateman) and his reluctant sidekicks Haggard (Bill Hader) and O'Reilly (Joe Lo Truglio), intent on recapturing Paul so that the government can cut out his brain.

And reclaim their weed.

Every scene in Paul is well written, fun, and entertaining (written by Nick Frost and Simon Pegg). The humour isn't the most cerebral but it takes a lot of brains to be able to successfully write and sustain so many catchy one-liners, skilfully using repetition to recapture laughs throughout. There are many hilarious shots of characters standing there with bewildered quizzical looks on their faces, and including Moses Buggs (John Caroll Lynch) in those near the end was priceless. Knowing that the road trip will not likely be threateningly interrupted produces feelings of comfort, although you would think the military would be searching for Paul in greater numbers (this would have ruined the film however!). Paul structurally references myriad science-fiction classics and it's fun trying to unravel them all (I did not catch them all). Watching Graeme and Ruth Buggs (Wiig) exchange romantic observations works well. Frustration, Frost and Pegg are experts in comedically timing moments of productive frustration.

Are humans smart enough to have come up with all of the technological advances of the last 100 years on their own or have aliens been sharing their related knowledge with them? Paul's answer to this question is "no, they are not, aliens have been sharing their knowledge, period."