Wild deliberations, imaginatively bred, cerebrally adrift on contemplative seas, evocatively swelling disproportionately sly arrhythmically attuned courageously attired.
Tuesday, June 9, 2026
The Bounty
Friday, March 27, 2026
Cheminstrel
Friday, March 6, 2026
Folionnaise
Friday, January 2, 2026
Gulliver's Travels
Firmament flange kodactyl mula artisserie flourish mazootoot veins, pulsating pumpty rigamarolo chillaxing blob 'candescent sty.
Tuesday, January 14, 2025
The Cobbler
The honest excelling hardworking days routinely passing without deviation, vital know-how and requisite skill generating consistent reliable business.
Thursday, December 5, 2024
The Holdovers
As Christmas approaches, a severe depressed teacher is suddenly stuck with a pressing burden, to monitor the activities and structure the days of a small group of children at a private school.
Tuesday, October 29, 2024
The Alamo
The classic three colonel quandary this time defending ye olde Alamo, where a lot of good people lost their valiant lives courageously fighting reckless tyranny.
Tuesday, March 26, 2024
Godzilla vs. Kong
The idea that Antarctica is home to vast enticing treasures has spellbindingly appealed to me for many a year, the thought that it was once inhabited millions of years ago makes me envious of those who will see it thaw.
Friday, October 27, 2023
Hustle
Hustle does a great job of pointing out how much solid work goes into crafting a professional sports team, just by focusing primarily on one gifted scout (Adam Sandler as Stanley Sugarman) who runs into problems when the owner's son takes over (Ben Foster as Vince Merrick).
Friday, October 20, 2023
Kaamelott: First Installment
Nice to see a familiar style of comedy still observantly elucidating, to the tune of ancient legend emphatically deconstructed in recalcitrant sheath.
Friday, December 30, 2022
The Gold Rush
The lour of abundant riches fluidly flourishing with feverish frenzy, drives The Lone Prospector (Charlie Chaplin) north to seek his fortune in the outspoken wilderness.
Friday, April 29, 2022
Across 110th Street
Tuesday, April 26, 2022
Young Mr. Lincoln
Like the coziest pillow outfitting a night's rest, or age old family recipes gastronomically ingratiating, Abe Lincoln (Henry Fonda) sincerely assists various members of his community, cultivating a wide spectrum of socioeconomic congress, through well-meaning bright expenditure, and honest caring friendship.
Friday, May 14, 2021
My Cousin Vinny
Proper procedure.
Friday, June 26, 2020
Tommaso
He's recovering from an adventurous youth and is more in touch with routine than spontaneity, but Nikki's much younger than he is, and in possession of bold free spirits.
His warmhearted personality and wide-ranging depth of learning still generate friendship and opportunity, as he teaches from time to time and pursues vigorous Italian studies.
There's no shortage of work nor lack of inspiration in his multifaceted intriguing realm, in fact I'd argue moving somewhere new revitalizes the artistic life (as many others do too).
But he's becoming a bit more rigid, a little more convinced there's a way things should be, and he's much more willing to express his discontent at least at home when he's moody and hungry.
His family's non-traditional inasmuch as its roles aren't strictly typecast, not that he's looking for something that definitive, but he's also grown tired of loose-knit structures.
He's sensitive and hates being left out even if no slight was intended.
He feels like he's grown accustomed to neglect.
And tries to do something about it.
It's a pretty chill film for the most part, cool people living independent lives, creativity blossoming in the moment, relaxed agile thought and feeling.
Like Domicile conjugal, nevertheless, it has to introduce provocative conflict (without the comedy), which unfortunately transforms the synergies into something much less romantic.
Does there have to be a power struggle, do people have to try to take control?, I've met married couples who respect each other's boundaries and the results are often super fun.
I suppose narrative conflict's fundamental, one of the first things you consider when writing a script, but does that mean such narratives are fundamentalist, even when they're exploring unorthodox lives?
It doesn't, although you could see it that way if you grow tired of watching artistic films which embrace cataclysm, not that every art film should be laissez-faire, but it'd still be cool if it happened more often.
Isn't there realism in the laissez-faire as well, inasmuch as a lot of life isn't one big power struggle, beyond corporate trial and error, like a random ice cream sundae?
Is everyone just angry with everyone else (the Trump effect) and is it up to auteurs to serialize that angst, or do Degrassiesque ontologies persist like blanketed communal Zit Remedies?
Tommaso's a solid film but I was disappointed with the ending.
Would still watch it again though.
Abel Ferrara's still got it.
Tuesday, January 15, 2019
Vox Lux
Beware what transpires within, for it's a most uninhibited tale, executively brandishing dysfunction, perilously prophesizing unimpaired.
Like all stories, it begins, a school in a small town no less, where a distraught child assaults his classmates and takes many innocent lives.
It's appalling that lawmakers aren't taking measures to prevent such atrocities, especially after so many brave American young adults have appealed for political conviction.
So many years after Bowling for Columbine, these shootings still take place with horrifying regularity.
Mass school shootings or mass shootings of any kind are so obviously not acceptable and arming teachers to stop them is sheer utter madness, total insanity, extreme irresponsibility, just nuts, such events don't simply happen, they're the product of blind mismanagement, and legal steps should have been taken to prevent them many many many years ago.
Celeste (Natalie Portman/Raffey Cassidy) survives the shooting at her school and writes a song to express her grief, a song which capture's a grieving nation's attention, superstardom awaiting thereafter.
But with superstardom comes unexpected pressure, Vox Lux necessitating improvisation as the unanticipated interrogatively fluxes.
How to diplomatically respond?
When even her most humble words provoke sensation?
It's unhinged and perplexing and preposterous and disorienting when you think about it afterwards, Vox Lux's argumentative acrobatics and substance abuse fuelled rhetoric leaving a byzantine trail of grandiose unorthodoxy in their wake, realities so disconnected and otherworldly it's like they orbit the heart of an imperial pulsar, which radiates untethered brilliance partout, and neglects consequence with refrained spry spectacle.
Yet it's so real, the film seems so plausible, so concrete, so distinct, passionately yet prohibitively brought to life by Natalie Portman and Jude Law (The Manager), like a down to earth fairy tale that's as ludicrous as it is homemade, like a supernatural cookie cutter incarnated in mortal shade.
Bafflingly improbable yet so irrefutably sincere, Vox Lux resonates with raw animation as if a misfit god has awoken from eternal slumber, and what a performance she gives in the end, this former child star who's been nurtured by shock and scandal.
Exhilaratingly conjuring.
In visceral artistic balm.
Approach Vox Lux with caution.
Outstanding alternative mind*&%^ cinema.
Tuesday, January 2, 2018
Darkest Hour
The entire British army almost lost.
Homeland resistance overwhelmed yet fierce.
Bitter negotiations clad in distraught whimper.
A controversial figure emerges, as respected and envied as he was distrusted and maligned, as equally capable of blundering as he was of succeeding, audaciously exemplifying both defeat and triumph, yet always ready to make difficult decisions, finding bold solutions when faced with formidable opposition, branded bullish bellicose resolve, suddenly called upon, to lead throughout times most wrathful.
Joe Wright's Darkest Hour presents a well-rounded examination of Winston Churchill (Gary Oldman) near the beginning of World War II, when he was tasked with leading the United Kingdom.
It appeared as if the British army would indeed be lost, which led many politicians to reasonably consider capitulating to Germany.
Although after seeing how cavalierly Hitler had disregarded deals he had struck with independent nations in recent years, negotiating with him under any circumstances must have made one feel extremely vulnerable.
Churchill seemed to understand the latter better than Halifax (Stephen Dillane) or Chamberlain (Ronald Pickup), as suggested by Darkest Hour, and even if the loss of Britain's army may have compelled him to agree to direst terms, he was still courageous enough to do anything he could to avoid such a disastrous situation.
Call on the civilian fleet to save the troops surrounded at Dunkirk.
Brilliance.
Joe Wright's Churchill was a fighter who knew how to lose but would do anything he could to win during a conflict.
And he wanted to save Britain from Nazi tyranny.
He wanted to fight them until all was lost.
Others within the government assumed they had already lost, so Churchill had to fight them along with the Nazis.
In fact, Darkest Hour showcases a politician who had to fight powerful personalities throughout the entire course of each and every day after he was sworn in as prime minister, a non-stop internal and external battle which he was stubborn enough to keep fighting yet malleable enough to know when to back down.
Staying one step ahead of alcoholic ruin the whole time.
He was broke too.
His unpredictable nature even frightened the King (Ben Mendelsohn), unpredictable inasmuch as people never knew what he was going to say or do, never knew what improvised comment or action would support his determined passionate argument.
It was like he handled the most stressful circumstances Britain had faced since the Roman Empire invaded with the resolute calm of a massive grizzly bear defending its kill from both other bears and a pack of wolves, always ready to fight on, thoughtfully working within an emotional tempest which he had the foresight to bravely ride and the composure to resist unbridled.
It is a movie after all, I don't know if he was really such an admirable person, but it's still a good movie that's well worth seeing, if not to praise the person who led the UK through its darkest hours, then to uphold a multidimensional inspirational caricature which could practically imagine a concrete solution for any theoretical problem, without overlooking lessons taught by chance and spontaneity, irrepressible spirit, always struggling on.
Reanimated by Gary Oldman.
I was almost clapping near the end.
Tuesday, February 14, 2017
Passengers
Their relationship was advancing quite well.
The ethical dilemma causes grief-stricken Jim Preston (Chris Pratt) sincere concern for months, the internal debate despondently intensifying his loneliness, his robotic companion (Michael Sheen as Arthur) unable to supply compatible warmth, as their massive craft continues thrusting through space.
With almost one-hundred years until it reaches its destination.
"She's so beautiful, lying there, undisturbed, at rest, at peace, what a comfort it would be if she were to wake, she would one day undoubtably forgive me."
Expressing contempt along the way.
While creating an interstellar Eden.
When the rest of the voyagers woke-up decades later, it must have seemed quite incredible, a wild romantic story to found their new colony's literary tradition, slowly transforming into myth over the centuries.
Cardamom.
Morten Tyldum's Passengers succumbs to overcome love's enmity everlasting.
A tortured soul redeemed through a courageous act which generates mercy as a matter of bold reckoning.
Ways are found to keep things moving as the dangers of a small cast taking up all the screentime are creatively confronted.
Oddly seeming like an oblivious arranged marriage or a clever reimagining of Michael Gottlieb's Mannequin, Gottlieb doesn't show up in spellcheck?, Passengers still excels at justifying its misgivings, while mischievously encouraging luscious tactile growth.
Entropically inclined.
'Til loves saves civilization.
Love the comments it makes about the discrepancies between first and second class tickets, the second class passenger undeniably integral to the vessel's survival.
Tuesday, February 17, 2015
Timbuktu
Alternative voices emphasizing Islam's focus on understanding and forgiveness express themselves but are immediately ignored due to their lack of influence.
It's men with guns, large and in charge, unconcerned with their lack of knowledge, severely punishing anyone who breaks their arbitrary laws.
Much more direct than Leviafan.
Musicians performing privately at night face the whip even though they're singing about God.
Women who don't wear gloves and socks are penalized.
A man who sees a girl and wants to marry her is fully supported when the girl's family objects to his inappropriate conduct.
Soccer is frowned upon.
Tough times if you aren't part of the ruling minority.
No opportunities.
No growth.
No music.
Make things as boring and lifeless as possible to maximize and inculcate your barren conception of reality.
This is how the rulers proceed.
Heavily armed.
With constant surveillance.
Friday, February 13, 2015
Kiş Uykusu (Winter Sleep)
When challenged he preaches.
He has done no wrong.
According to his will, which vainly asserts his blights.
Proven through the narrative's conception.
Of unyielding irrational control.
The darkness of men's souls.
To say, "Be a man at all costs. In a domain ruled by men."
There's a powerful scene, epic in its isolated rustic nocturnal candour, which expresses the rationalities of these mad oppressive entitlements.
Wait for it.
Viewing, it's like you're in the village, present at these conversations, living these lives, freezing, because of their patient plodding conversions.
Thinking.
Finding things to do.