Showing posts with label Disputes. Show all posts
Showing posts with label Disputes. Show all posts

Tuesday, June 9, 2026

The Bounty

Wild deliberations, imaginatively bred, cerebrally adrift on contemplative seas, evocatively swelling disproportionately sly arrhythmically attuned courageously attired.

I imagine it's still tantalizing to freely circumnavigate the globe, it may have been done ad infinitum but must still impress vessel-type depending.

In The Bounty, the rigid captain has it in sight as a resolute goal, but gives up after inclement weather bombards his ships for weeks on end.

He still reaches his destination where his hearty men modestly indulge themselves, the tropical climate and easy living a well-earned break from life at sea.

But for the celebratory accomplished return trip he wants to test the stormy waters again, to stubbornly realize his lofty objective which was wisely abandoned with sobre regret. 

His men have grown quite sick of the imposition of discipline at sea however, and many of them miss their island comforts with far fewer rules and regulations and lashes. 

Fearing they'll never make it, they openly launch an audacious mutiny. 

Taking the ship wherever it may go.

Never to see their Native homeland again. 

The Bounty takes an imperious shine to top-down order and absolutist reckoning, affirmatively upholding old school codes of efficient conduct and divine faith.

Circumnavigating the globe would have no doubt been a noteworthy accomplishment, to look back upon in your senior years with loyal disbelief and rebellious fidelity.

Dying in the attempt would have been fruitless and perhaps even mad obsessions pending, although if the captain had been less severe he may have subtly won the crew over.

He isn't a loveable man though and relies more on codes and duty than artful persuasion, unlike his affable mutinous counterpart whom the crew adores with uncompromised feeling. 

To take a ship and just sail off into the wide open salient distance. 

Could you have purchased your own ship and done that way back when?

Is it even possible to do that now?

Flying to Vancouver's crazy expensive.  

Friday, March 27, 2026

Cheminstrel

Incommunicado restless interlocutor
opaque isthmus crackling wood
baroque embellishment ludic verve
incessant antics quivering fletch

summited circa pinnacle plush
inordinate view symbiotic horizon
dazzling downpour gracious melody
leapfroggin' lacka ambient haze

cardiovascular decked out dygnashing
quizzical camper sandstriking smidge
fussy instructions aghast retinue
punctilious incline almond bitters

sawdust sucré atemporal flux
modest demeanour exemplary marrow
chestnutterance spitfire samosa
whiplash stampede 'tripetal blush

accelerant catalyst crucial consumption
jaundiced jaguar infinite loop
Danube dispiriting swollen embankments
didgerdeluge ominiondation

exotic sampler smithereens scoot 
vacillate vermint crafteaspoon critter
vanilla sedgling vehicular blinds
botanical blimsy tobaccolades

frenetic fissure frugallaghershwin
optimal nominal whole grain blather
tantamount treacle viscid supplication
invertebrate buzz infinite fleece

brittle consternation bewildering blasé
comatose stride sleepwalking sentience
dizzying drowsy succour shallot
labyrinthine strata lithe collocation

Morpheus mingle curious swagger
inchoate charm vouchsafing vessel
subconscious structure shapeshifting sands
elusive elocutus jocose jammin'

husky interlude cerebral paucity
juxtaposed lick rhythmic pulse
crescending sorcery glib diminuendo 
improvised guideline denouement stress

fitful romance disinclined thriller
comedic quark siesta sci-fi
meteoric magma galactic chemistry
soluble liquified coaxing unknown

enigmatic math eccentric equipoise 
garland sugargomellow enterprise
rooty microbe coagulate granule 
aggregate shade pebble bipedal

octane inducement incognito nebulae
'dromeda snorbit courageous descent
fugacious fauna feverish fruit
extracurricular unique venture

spawned. 

Friday, March 6, 2026

Folionnaise

Synchronous lushkie limestone lickspittle
ornery altitude cranked discretion,
churning melodious rhythmic medley 
chimphonic chirp lithobandana. 

Sufferance slather almond risotto 
indelicate flock temperance twaddle,
buglengarry freeform expeditious sway
eiderdown nambul cloaken outspoken.

Wheedle conceital fiesta tweedle 
sourdough snuggles vellum parlay,
beaconflict sprout lateral pulse
throbbing distinction gongdola soir.

Riveting yield compendium strike
stave conglameration opalescent stream,
callous chiavelli earthling industry
extraterrestrial finesse fervour. 

Moonstruck abacus-cous signature slam
interplanetary verbose vacuum, 
saturnine willow mercurial convention
venestle vortex martians askew.

Aesthetic balance gritty endeavour 
invariable forecast sultry stew,
everlasting impression instantaneous substance
evanescent grain voluptuous vibe.

Rocky terrain indefinite vestige 
credential crunch ornate circuitry,
wavelength wafflin' transister truffle
modibreadcrumbdrum harried hyasynthesized.

Liver & onions gammon & spinach
chapter & verse flesh & bone,
inordinatortue souris sonata
clavier coagulate écran sorbet.

Irksome impediment smug reliance
perplexing convexling concavernous cues,
tiptop adoring tailspinpointsetter
cloyed ambassador bon vivanguardian.

Tipolitesse-chest beaver slumber-some
beach ball piazza cahoots calzoot-hoot,
fledgling flotilla asynchronous Borg
individualistic elusive aloha.

Nebulous narcolept segmentary sedge
woolen exponent felicitous flub,
Serengeti cycle salubrious glen
orbital awning stratocastrophere.

Carriage disparaged riverbed rummage
disorientation fragmentary flummox,
equestrian stride synergy strewn
salicin syndicate rosemary, thyme.  

Friday, January 2, 2026

Gulliver's Travels

Firmament flange kodactyl mula artisserie flourish mazootoot veins, pulsating pumpty rigamarolo chillaxing blob 'candescent sty.

Longitteetotalgae mariner mumba dissonantique-fleet avonlongueuil, porcelain putter ménageless mosey stoked studesunbaked collage allure. 

Nebulous nugget synergy-wizaardvark goblet haberdashing salicin fuse, saturnine fugaloo insipid cask micadetrid stoic Caleb landlub.

Ludictionary symbiotic beat inveterate streamline coastal colline, vigorous vizier billowing bluster sashaylaid zenergy didgeridoo. 

Ambient choral calisthenic haze roundabout rustlin' tumbledown strain, Laurentian luge Chibougamau terrestrial swathe coruscating colossus. 

Optical marinade objective luscious stentorien bellevue tympani tangent, synthesis saffron augmental moxy nougagatorial cellophane flush.

Obenewliskeard mummification gaggle gesticule torrent tinertia, octagon kimchi carousel cruise decibaltic composite vicarcajou. 

Quicksilver spool arugula spoils kettlecorn spout savannah splutter, chisel chinchantment ouzo olé sequential salamba flagstaffing flew. 

Digrestanza dagnab' bitesizzlin' Buell tapestry transit ciabatta cello, cavalcade cordial koala arch a' flutter donutter crème brûliaise. 

Camaelstrom chug sudsy cascade conifirmamentat bay leaf stew, webbed fingerlinger shimmering shave aquifer adjunct potato pluck. 

Sequitartavatar quiescent maroon voluble viscous itineranteatime, molecule motion particle plaster electron mastodon wombatty sloth.

Saccarhinelandrider siesta stroll labyrinthine murm tranquilty tome, coverlet heat microcosmetric rhyme hemlock hyacinthesized laconic loaf. 

Relaxed afloat. 

Set to wander. 

Somewhere thereabouts. 

Farther afield. 

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.

A modest son taking care of the fam after the sudden disappearance of his father, mom resigned yet persistently hopeful that one startling day he'll lovingly return.

The old school neighbourhood traditional and lively characteristically existing as it has for many years, local citizens daring and politically active in the stalwart fight against gentrification.

Things proceed the days pass by difference is found in random conversations, with a wide variety of inquisitive clients who on occasion discuss things at length.

Their shoes as well the various designs some intricate fashions or dependable customs, so many lying about in his shop at the somewhat dull end of a typical day.

Until one day his sewing machine rebelliously decides to stubbornly break down.

Leading him to use an old model from the basement.

With wild unknown imaginary features. 

It's a bit far-fetched this world weary Cobbler although it's still well-suited to the heroic times, not as flashy or bedazzling as Marvel or D.C but so much more appealing in the gentle undertow. 

The protagonist isn't a crazy rich genius with unlimited resources at his or her disposal, nor a gifted scientist creatively experimenting with research grants which lavishly facilitate, he's rather a regular humble Joe who genuinely cares about work and family, and even comes around to loving his neighbourhood and his shop's old school place ensconced within it.

He is uncertain as to how to proceed after accidentally discovering the miraculous tool, and engages in spirited trial and error with comic results before taking things seriously.

Indeed he cleverly takes the unsung side of an elderly resident who wants to keep his apartment, and is able to strategically embrace multi-step planning in complex resilient underground economics.

It's cool to see the little guy stand up and industriously help out the people in his community.

It's more organic, not a $60 dollar cheque.

Strong local initiatives. 

Beyond oligarch power.

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.

The children were left behind for unfortunate reasons their grief somewhat turgid, and to make things worse the ornery prof gives them lengthy flush days full of challenge and study.

Instinctive rebellion athletically simmers as the taut strict injustice wholeheartedly incapacitates, alcoholic coherence and ancient civilizations acerbically mustering seditious resolve. 

When the surprising introduction of chill unexpected adventurous pastimes makes itself freely known, and a former dismissive and angst-ridden parent turns a bucolic leaf and picks up his son. 

He also takes three of the other kids leaving only one student to be chastised and disciplined, the student desperately trying to contact his mom but she can't be reached at the resort where she's staying.

The resident cook still performs her duties as the Holiday Season ominously howls.

Helping the instructor try to loosen things up.

As the frustrated teenager dismally exfoliates. 

It's a traditional woeful bitter look at hard-boiled excessively critical regulations, as they gradually let go of their uptight ceremony and warmly embrace something much more public.

It reminded me of A Christmas Carol (1951) and how Scrooge had to once spend Christmas at a boarding school, until his adoring sister finally convinced their father to let him come home to celebrate together.

Imagine Scrooge the child, bright and decent, despondently stuck at school for Christmas, with Scrooge-the-elder, jaded and unfeeling, scheduling his activities throughout the day.

Scrooge vs. Scrooge the malignant metastases overtly arrayed through pomp and circumstance, slowly learning to get along as the stilted teacher incrementally lets go.

Perhaps if he'd been sent to the military academy he would have wound up more like Ebenezer, the Scrooge-like prof through an act of kindness embracing lithe spirits and altering his destiny.

Much more serious than many a light happy-go-lucky convalescent Christmas film.

That may find a lasting audience amongst the people who listen to the people whom no one ever bothers to care to listen to. 😎

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.

Plato's Republic can lend a hand giving a coherent account of their personalities, as convincingly theorized by James Edward Grant likely after having embraced agile study.

In The Republic there are 3 classes of people chillin' out then gettin' er' done, those known as producers providing goods and services, at times irrationally or superstitiously expressing themselves.

The second is labelled the auxiliaries and it defends the city from agression, its bravery valued and at times commended when they're promoted to the rank of guardian.

The guardians or philosopher kings are a strictly rational lot, driven by temperance, courage, wisdom, and emergent justice, they uniformly focus on reasonable good governance and can be prickly pears when encountering tomfoolery.

In The Alamo, Colonel William Barret Travis corresponds to such a character, in charge of defences and unwilling to leave or surrender even though the situation seems hopeless. Driven by principle and ideal he's quite severe in his language and commentaries, not many men willing to fight for him, although those that do admire his courage.

Jim Bowie is a classic producer he's rough and tumble and lacks regal eloquence, drinking too much at times - even far too often, his questionable discipline endearing to his men.

These two colonels wield lucid rancour and almost kill each other more than once, Bowie furious he wasn't given the command even if his chaotic conduct should have convinced him otherwise.

The third colonel is Davy Crockett played by John Wayne who also directed, his spirit wise his loyalty abounding his men thoroughly devoted to his command.

He admires Travis's wisdom even if he thinks he's a haughty stuffed shirt, who's difficult to get along with and too overbearing yet still a great soldier at the end of the day.

He likes the other's pluck and resilience but soon realizes he lacks knowledge and insight, building a bridge between them through friendship which makes for a somewhat rowdy yet fastidious accordance.

It's certainly entertaining at times and even gives the peaceful characters noble voices. 

Such voices prominently revelling at times.

Peaceful times.

With Kamala's grace.

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.

Godzilla vs. Kong speeds things up a bit to archaeologically respond to an emboldened theory, which maintains that the Earth is hollow and that an ancient civilization dwells within.

It's theorized that both King Kong and the mighty Godzilla resided there in their youth, and somehow broke free to disputatiously arise upon the newfound realms above.

King Kong settling on his cherished island where he made the fertile land his home, Godzilla residing beneath the waves at times emerging through bellicose intrigue.

Why must Godzilla attack when he consciously knows of King Kong's bearings, why can't they both make peace and congenially bask in apex acupuncture? 

I didn't even know there was a new Kong/Godzilla film when I wrote my Gojira tai Mekagojira review in early winter, I was just reviewing random Godzilla films because that's what appealed to me at the time.

But my Highlander Godzilla scenario certainly applies to 'Zilla and Kong.

And lo and behold Mechagodzilla as well!

I couldn't have been more pleasantly surprised. 

I hope people don't fight wars over Antarctica as it thaws, such endeavours would seem rather costly considering the inhospitable environs. 

Unfortunately, economic wealth does appeal to many but so does anthropology!, and if it significantly thaws during the wrong financial crisis competing nations may clash for its wealth.

Don't overlook the integral import of Indiana Jones films in the fantasy sector, they challenge plutocratic impeti and encourage intergenerational cultural growth (not resource exploitation).

Kong and Godzilla seem to come to terms after battling Mechagodzilla in Godzilla vs. Kong, as it seemed the United States and the Soviet Union resiliently would after defeating Nazi Germany.

Perhaps the next versatile film won't see the emergence of a cold war (I think it was just released), an archaeological investigation of the Hollow Earth would be apt perhaps featuring ye olde Dr. Jones.

In terms of constant improbable ridiculousness multivariably motivating competing interests, within a fast-paced imaginary plot where so many things could possibly go wrong, Godzilla vs. Kong doesn't disappoint and was a lot of fun to sit back and watch, multilayered and inherently uncanny, indeed what lies deep within the Earth?

It's at least as appealing as outer space! 

Maybe not that appealing. 

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). 

It's like a 24/7 job it's rare he ever stops concentrating on basketball, he consistently sacrifices so much for the team without much complaint or sharp contradiction.

He has an amazing job and gets to spend his time doing something he loves, and can concretely see his emphatic results each time a player he's chosen makes a cool play.

I saw him like a representative for what generally goes on behind the scenes in professional sports, for the tens of thousands of people diligently working to put a dynamic team together.

Even when that team isn't playing well the wheels are still in perpetual motion, making deals and calls and observations hopefully leading to that next championship.

When you think about how many thousands of people are habitually competing to build the next champion, it does seem like the odds against anyone ever winning are so astronomically high that victory's miraculous.

And then if you see your outstanding favourites lose the Super Bowl three times in your curious youth, and then come back to pick up back to back wins less than ten years later, with the same quarterback, you can't help but be thankful to the organization.

If you do actually win the championship it objectively validates every decision made that season, you can take a break and sit back and bask in heralded pseudo-divine contemplation.

Each step of the way not just the winner it's still better to get there than not make it at all, it's like every organization is fighting for each inch of ground at all times and never even considering coming up short.

At least that's what characters like Stanley make me think with their healthy attitudes that keep things focused, with some jobs you have to continuously adapt at any given time with inquisitive reflexes.

That was amazing when the Raptors won I never thought I'd see that happen.

I was pissed Dad didn't get to see the Leafs win again before he passed.

But honestly, he loved basketball so much more.

I'm so happy he got to see that.

Hustle's worth checking out.

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.

Thus, extended less devout commentaries can be expediently relied upon, as the temptation to laze about disarmingly overwhelms protocolian spirits.

Indeed, should a situation arise inherently imploring trust thereupon, debate regarding the utility of action may argumentatively delay courageous concourse.

Was there ever ebulliently a time when innate fidelity preponderantly prospered, and allegiance shone forth across the land with impeccable practical superstitious brilliance?

Or were old school lands aggrieved equanimously equipped with parallel suspicions, and whole-heartedly abreast of postmodern cheek illustriously composed through disputation?

Would the rarefied pretensions of the day have taken note in their limited volumes, of imparticular ineptitude, or would their vellum have harmonized rhapsodic?

Still, within ye olde Kaamelott: First Installment heroic endeavour doth vouchsafe akin, as Arthur (Alexandre Astier) pulls the sword from the stone and lackadaisically assumes regal volatility.

Sensing little effort need be applied to potentially reap heraldic fortunes, other nobles ceremoniously sign-up for the sublime cause sans hesitation. 

Alas, it is nice to see a less shocking and violent mass-marketed comedy, which doesn't rely on racism or cruelty as you sometimes find in this day and age. 

If that's the evolution of comedy is it not regenerating a decadent phase, to be followed by meaningless emptiness so the old theory historically goes?

For so many centuries much brighter comedians have encouraged laughter without bigoted reckoning.

Without bellicose mean-spirits.

Manifest pejorative prosperity. 

Kaamelott has faith in its strengths and doesn't stoop to bombastic prejudice, doesn't infuriatingly apply blunt and crude generalized cultural dissonance. 

In the age of legend it industriously competes with magnanimous superheroes, to provide a thoughtful supplement should the master narrative prove overwhelming.

Asking the age old question, lead through trial and error or ornate pageantry?

They find an intermediate compromise.

Composed so long ago. 

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. 

But luck deceptively eludes him as his adventure encounters the void, and without food as winter sets in he finds himself starving in a crowded cabin.

Two others have joined him indeed one having recently found good fortune, the other hunted by the adamant law and in no mood for friendly conversation.

The awkward potentially dangerous situation is not without meaningful comic effect, as inherent absurdity echoes incarnate throughout the vast remarkable land.

Eventually, after an offbeat rendez-vous with understated ursine munificence, it's off to a nearby town to patiently wait for the upcoming spring.

Wherein which bourgeois potential's cloaked within seemingly radical excess, the incumbent seclusion forging molten magnanimity that takes some time for the prospector to get used to. 

But with resonant hesitant accord he peacefully acculturates piecemeal by and by, at least attempting to earnestly grow accustomed to something he'll never quite instinctually understand.

Such a shame to have to adapt to not simply intuit the habitual happenstance, trial and error deemed somewhat unproductive when generally applied to prestigious social life.

There seems to be an art to conviviality which many comprehend with innate fascination, whereas others observe somewhat bewildered by the odd animate freeform merrymaking.

Competing rationalities discernibly conceal fortuitous facts and fashionable variabilities, which spontaneously mutate according to im/perceptible personalized aggrieved or ecstatic revelations. 

Why not a quiet evening at home swashbucklingly scrutinized with celebratory sentiment, the discursive means questing themselves for alert dis/proportionate vigorous censure?

Established semantic inhibition reflexively refreshes bold exotic tongues, as inchoate interactive fluencies effusively flutter to perplexingly fathom!

While the rowdy festive heralding doth still pose sociocultural temptation, newfound habits and tantalizing tranquility often offer clement consignments. 

Brilliant film, every second romanticized with sporting dis/passionate uncanny revels (Happy New Year!).

Amazing country far off, so I hear.

With so much land still yet to be claimed.  

Friday, April 29, 2022

Across 110th Street

*Warning: this film examines racism from a hardboiled perspective. Be prepared for unsettling language and situations if you happen to view it.

3 bold and foolish citizens decide to rip off the mob, after learning where it meets to count its money, leaving the daring heist with 100,000 apiece, thinking they'll elude detection, staying put in the very same neighbourhood.

The robbery turns into a murder which leads to police interest, thus the rash impromptu entrepreneurs are pursued by more than one well-financed antagonist.

Both groups have grievances to air as they investigate internally and beyond, a steady stream of eager vitriol accompanying conversation after conversation.

With all the conflicting strategical approaches its amazing that group dynamics are able to accomplish anything, aggrieved fluid practicalities confronting active hostile brawn.

What a feast for character development, however, as at least 8 from different walks have their say, as much care and attention adopted to craft the corrupt Captain's lines (Anthony Quinn) as those which define the gravest of suspects.

Many detective films discuss the achievement of results, the pressing desire to move forward with a case as investigators theorize anew.

Their theories at times lacking evidence which they seek by using violence, assuming the resultant coerced information isn't tampered by survival instinct.

Across 110th Street prefers the law and the rights of persons of interest being investigated, as the brilliant Yaphet Kotto defends liberal reforms while critiquing totalitarianism. 

Imagine random conversation, taken as absolute empirical fact, with only a scant cross-section of specific subjects deemed aesthetically appropriate. 

At work perhaps so much concerned intrigue fluently adapts.

But why should one be bound by classification?

Beyond one's working life?

Across 110th Street provocatively pulsates as three interconnected adversaries raise disputatious hell.

Versatile character development recalled the cinema of my youth.

Characters that aren't whitewashed success stories.

Raw determination wildly overflowing.

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.

It was a different age perhaps where civil dreams still coaxed companionship, and thoughts of earnest social harmonies still challenged cynical despair.

In the North, in disconnected jurisdictions kept informed by books and newspapers, racism was courageously fought, as it had been institutionalized down below, with callous cruel appalling reckoning.

To this day it still malignantly divides with misguided cacophonous misfortune.

Strange how it could be taken so seriously.

Generation after generation.

It's nice to watch a story less enamoured with all-encompassing ambitions, one that closely examines a thoughtful slice as opposed to the generalized big picture.

Instead of constant change that sees a new character emerge every so often, in the observant Young Mr. Lincoln, a compelling moment playfully sustains.

Not as overflowing with fact and detail as a wide-ranging chronological compass, but still airtight with specific style and in-depth particular emphasis.

So many stories to be freely told about larger than life historical figures. Why consistently focus on their entire lives? When a down to Earth take will also do.

Mr. Lincoln is perhaps too down to Earth at times in John Ford's exploratory film, but his lack of clever worldly artifice doesn't mean he's not always thinking.

His sure and steady composed even-minded patient modest good humoured nature, earns the regard of the respectful town through heartfelt compassion and boundless energy.

Imagine an honest clever statesperson who was largely self-taught and grew up in the woods, developing an appealing universal outlook that found support in the minds of millions.

It sounds like a political impossibility if you don't believe in grassroots democracy. The fact that men and women like this can still rise to become president speaks to genuine robust American democracy.

Imagine a system that substantially promotes integrity of character along with the pursuit of wealth.

Where one can be prominent without being wealthy.

And massive wealth doesn't ensure success. 

It seems like these ideas are at a low ebb and at times it's tough to fight off disillusion. 

But disillusion leads to Putin.

And Biden fits the traditional model I've presented here in many ways.

Friday, May 14, 2021

My Cousin Vinny

Proper procedure.

The correct steps to be taken in the precise order.

Never wavering from the script's strict imposing code.

Inviolable structure.

Airtight renditions.

Vinny Gambini (Joe Pesci) possesses the argumentative wherewithal, the incisive logic reasonably applied to ascertain guilt or innocence, but when it comes to the specific testaments concerning how to traditionally proceed, he's somewhat at a loss, and struggles to acclimatize. 

It's like the stellar unwritten rules which drive unorthodox independent filmmaking, have been transferred to a court of law, in Jonathan Lynn's My Cousin Vinny.

Vinny's held in contempt several times to punish his undisciplined disorienting candour, but he takes it in stride unconcerned with pejorative principled checks and balances. 

It was a different time (1992) breaking down barriers which upheld uptight and rigid formalities, in order to accommodate sociocultural differences which hadn't been raised in plutocratic splendour.

Then again, Lydia Berman in Thunder Force invigorates similar non-linear spirits, perhaps a Foucauldian study needs to be conducted regarding American comedy's progressive intentions. 

A lack of room for alternative dispositions can provoke a cynical malaise, nevertheless, and widespread support for flagrant difference which challenges dismissive pretension. 

Of course codes of conduct need to be respected within reasonable non-farcical bounds. 

But if people possess the content but lack the formality trouble will brew if they're left by the wayside (I'm not writing about myself, I like my jobs and oddball inclinations, but there are people much more ambitious than me who may be looking for answers from rowdier sources).

Accommodation works both ways and peeps can't just say and do whatever they feel like all the time.

But if procedures prevent competent employees from competing because they're not wearing an acceptable tie or discussing esoteric topics, with abstract obscurity and orthodox disdain, doesn't the resultant managerial gene pool banally stagnate, and innovation fail to materialize? 

I imagine it's not like that in many spheres, however, and sometimes I forget the multiple representations of provocative difference found in the credits of Michael Moore films.

Exceptions multitudinously grounding.

Alternative visions materialistically conveyed.

I saw My Cousin Vinny in my youth (at Christmas) and was so impressed with Marisa Tomei (Mona Lisa Vito). 

I was happy to see her nominated for an Oscar too.

And was super impressed when she won. 

*A classic.

Friday, June 26, 2020

Tommaso

A caring romantic versatile actor intuitively attempts to settle into middle-age (Willem Dafoe as Tommaso), living in Italy at the moment, with his wife Nikki (Cristina Chiriac) and infant daughter.

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

Brady Corbet's Vox Lux wildly envisions tumultuous reasonability clad in disputatious aggrieved apotheosis facilitating chaotic calm.

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

Western Europe crippled by Nazi aggression.

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

A shocking revelation suddenly shatters a crystalline credulity with excessive reactive disillusionment.

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

Law and order is ridiculously applied to the daily lives of Timbuktu's inhabitants, a city in Mali, and a film by Abderrahmane Sissako, a brutal unforgiving violent accentuation of a fruitless interpretation of Islamic texts, interpreted to profit those in power, regardless of what the texts actually say.

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)

Prolonged drowsy interminable winter, dilemmas and debts and rigid bitter realism, frozen immovable remote reverberations soundlessly echoing through time like omnipresent gallows for some, casual laissez-faire cocktails for others, a small town in Anatolia, a consciousness of place, order, balance, predictability, the insertion of divergence, glacially counterbalanced, from whichever side, whatever predicament, interred for the ages, contradiction's fertile sum, punishment to reward, thoughts eloquently marooned, the snow is falling, confiscated tempests, every point will be made, an old man wandering blindly, his dominion staggeringly glazed, fissured, crumply.

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.