Shaft

Racism erupts with full-on blind distressing malevolence, as an African American steps outside, and is beaten to death by an irate brat.

Previously, the brat (Christian Bale as Walter Wade, Jr.) derisively employed stereotypical misconceptions in a distasteful attempt to brazenly humiliate him, but he responded with calm rebuttals which incisively turned the tide.

A witness to the murder exists but she fears for her health and safety, and swiftly disappears when approached with questions (Toni Collette as Diane Palmieri), detective John Shaft (Samuel L. Jackson) understanding yet unimpressed.

Wade is granted bail and departs for Switzerland shortly thereafter, where he remains for a scandalous two years before he returns and is taken back into custody.

He's granted bail again and makes it known that he's impenitent, yet the witness still exists, which makes him nervous if not frightened.

He enlists the aid of a local drug dealer (Jeffrey Wright as Peoples Hernandez) to discover her wayward whereabouts, but he isn't eager to help, without ample compensation. 

Shaft's on to them as well as members of his own department who are assisting their criminal endeavours, cleverly messin' up their plans, as they engage in grand malfeasance. 

But can he locate the witness in time, and even then, is she willing to testify?

High stakes practical ethical reckoning.

An honest cop, entrenched corruption.

Shaft (2000) delineates hardboiled boundaries with hyperreactive retributive dissonance, freeflowing justice materially manifested through lucid teamwork and reverent calm.

There's more to it than many a cop film as it boldly resuscitates dormant proclivities, by encouraging active prolonged dis/integration within a thoughtful volatile recalibration.

At first I though the subject matter was a bit too blunt, perhaps bordering on the sensational, but considering the shocking tragedies continuously emerging in the U.S, the narrative packs a realistic punch these days.

Is it not preferable to embrace less polarized divisive political optics, in order to cultivate a cultural aesthetic which isn't obsessed with race or creed?

As many others have humbly suggested, in response to different dilemmas over the centuries, isn't it more cost effective and less economically disorienting, to forge common ground upon which to pursue life?

I imagine the police would like to have less to do, or to apply themselves to less catastrophic scenarios.

Hope that's the case anyways.

Life's so valuable.

It's important to live it. 

*With Dan Hedaya (Jack Roselli), Busta Rhymes (Rasaan), Pat Hingle (Hon. Dennis Bradford), and Richard Roundtree (Uncle John Shaft). 

**Outstanding performance from Jeffrey Wright.

Clara

Vigorous contemplation astronomically acclimated objectively focused on enigmatic night skies.

The loss of a loved one, the end of a marriage, caught up in one's work, cold obsession wears thin.

Pedagogically anyway, those are the kinds of unimaginative questions purposeless fools think up in bland appeals to flippant provocation, having nothing that drives them themselves they seek recognition in blasé slander, as they rigidly capsize then flounder away.

No matter.

Perhaps Dr. Isaac Bruno (Patrick J. Adams) did need a break, but his uninterrupted logical obsession does lead to prosperous discoveries.

With Clara (Troian Bellisario), an independent spirit emboldening itinerant fascination, having travelled the globe she applies to work with Dr. Bruno, bringing passion and impulse and style to their studies, cooly adopting romantic methods, warmly embracing emotions age old.

Imaginary numbers.

Heart.

Spawn of the universe interdimensionally abstracting to practically envision passage, spiritual transference incorporeally transmitting commensurate extraterrestrial caches, juxtaposed entities interpreting as one coyly generating crinkly bifrost, the bond of the inexplicable reciting interplanetary sun drenched dawns.

Sci-fi love, intergalactically conceptualized, resoundingly researched, indiscriminately developed.

This Clara, Akash Sherman's Clara, true synthesis of art and science, like a seashell or desert haze.

Posing questions with no reasonable response, intercessions padded feasible parlance, cool realistic bonsai that values stoic discipline, charmed cogent romance which denotes with precision.

With academically inclined composed characters well suited to dreamy wild cards, Clara contrasts teaching with research, the lab with the world at large, objective analysis with inspired intuition, and dismal grief with resilient hope.

Dr. Durant (Ennis Esmer) and Dr. Bruno's approaches to higher education complement each other well, and even though misfortune has ended Dr. Jenkins (Kristen Hager) and Dr. Bruno's marriage, they still maintain a professional relationship as time slowly goes by.

Alternative thinking and experimental readings lead to rational conclusions which reclassify ontological taxonomies.

I have no idea how to find them, or contact them, but there must be other lifeforms out there.

I don't know how much should be spent trying to find them.

But hopefully some's spent on dolphins, improbability.

The sea.