Fluxurious

Bogged downhome stasis marchery twang

fennigan 'fuffle swampersand dune

vetted dissected clackety cruise

mariner magpie holstein hearth

grimacing ghoul fortuitous frown

withering wince marmellow mash

emotive 'flage cornhusker 'fuge

soma 'lacrum hybriddle hocus

vocal pinpointdextr'ous mismatched membranes

marbled conduction blithering dearth

spiralling hatch swineyard sortie

dissolving adorable gothic fluidity 

tomcatty jones charming enchantment 

jejunglee jinx barrelhousebound

calico crisper fallow retained

'ciferous vocab ornament lex

eclipsing pulsar stately ambrosia

festoon tycoon garland croquet

dazzling dust devil whimpering slight

tarragon tremors fastened askew

oblong kyoto cryptic hiatus

banishing bulge frugal inception

inchoate cream shimmering gown

Cadillac quorum quadrant variable

swish-ke-slob scurvy redoubled effortitude

scallywag sympatico zesty relish 

casabathousebound embryo unction

thoroughbred chalice jocose enterprise

imbroglyonostrum elliptical clash

asphyxiated stifle babbling brouhaha

rabble roused recourse diverse counsel

chaotic quench salient enclave

starboard sufferance anointed Druid

peripatechnic sparmesan crust

immersive axiom rotisserie ramshack

nutrient nebulae languid larva 

maquillage malcontent austere spontaneity

cloaked conditional hollow imperative

pirouette pewter symbiotic swirl

obscure definition gourmantic glade

ricochet Richelieu neutrino nuance

photon overdrive daguerrotypical

artifice flume Boston cream

volcanic cosmos obsidian crest

ironcalladin technicolour tempo

salamander skimp collusive sublimity

hyena harken hammerhead hail

metropolitan magma meadowlark slam

marathon mingle fingerling fresca

opaque jasmine saturnine hinge 

lunar module bivouac burnish

starling doppelgäng squadron threshold. 

Flash Gordon

Here's a film that's much better the second time round.

During my first viewing, a logical bias prevented me from appreciating the freeform glib absurdity, as I engaged in rational calculation rather than unlocking wondrous intuition.

True, the script provides scant detail as it embraces grand complication, a motivating reason consistently postulated, without much time added for thought or pause.

And these reasons conjure unerring as Flash (Sam J. Jones) confronts intergalactic authority, in a complex web of political fascination, stitched together with impacting law.

Studied skilfully nurtured pretensions led to accusations of the ridiculous, of disenchanted criticism unilaterally applied.

But when I laid down to watch it again I couldn't wait to bask in frenzy, in chaotic disproportion altruistically askew.

Characters once dismissed as empty took on vibrant intense substance, and a plot thought to be immersed in dispatch emerged with complementary cohesion.

There's something to be said for fun, for lightheartedly revelling on set, Gordon's jocose mischievous nonchalance concerned with neither plight nor threat.

And after anticipated reasonability gives way to cultivated implausibility, the joy of filmmaking viscerally shines through, as it jumps from scene to scene.

It's not that the film's irrational, in fact with multiple short and sweet scenes moving the action along, it abounds with agile meaning, multifacetedly composed.

But considering what needs to happen and the likelihood of even considering such an unorthodox plan, the constant eruptions of clever catalysts seem too radical before amazement's factored in.

True to form, Flash Gordon never forgets that it is based upon a comic book, and I'm uncertain if ever I've seen another comic book film so admirably respect its illustrious origins.

In comparison to contemporary Marvel and DC films they're certainly less controversial, less likely to lose large swaths of their target audiences due to impulse, inspiration, or feeling.

But I'll watch Flash Gordon again anytime, perhaps because they had no clue what they were doing, yet still strung something together that's exceptional, not to mention epically imbued (production design by Danilo Donati).

I'm not saying Marvel and DC should stray from what works for them.

But Flash Gordon's spirit's no doubt electrifying.

Like wild influential discontinuum.

*Once again, it's cool to see works of art that seem as if they're uncertain as to how to proceed. This doesn't work so well in sports or politics. Where such an aspect is foolish or frightening.   

Loving Vincent

Choosing an occupation isn't so easy for some, not easy at all for many, and can be a source of frustration for those who don't have much desire to do anything, for the majority of their lives, even if they develop expensive tastes for automobiles, or, perhaps, exotic vacation destinations.

Social evaluations of job titles and financial motivations can be disheartening as well, especially if that which you never wanted to do earns less money than something else which someone else never wanted to do, when situated within the context of various cultural mating rituals.

But some make the decision to follow their hearts despite dismissive pretensions or a reliable income, and apply themselves vigorously to something they love doing, much to the dismay of people who never really loved or had any desire to do anything, it's a strange social phenomenon that can discombobulate if considered logically.

The disenchantingly bizarro.

Competing discourses of maturity.

It's not like this with everyone, but in Loving Vincent a tragic account of exclusivity explains why the brilliant painter Vincent van Gogh (Robert Gulaczyk) was unable to feel at peace throughout his professional life.

He spent years painstakingly developing an original style that was only moderately celebrated during his lifetime (he only sold one painting for instance), and never really felt as if he fit in.

Cast out from his hometown, judged peculiar by his parents, unsuccessful with traditional occupations, a depression set in which was soothed by constant work.

Loving Vincent celebrates that work in one of the most beautiful films I've seen.

Perhaps the most beautiful, I've never seen anything like it before.

Like a distant graceful star consciously transmitted its sympathetic and understanding warmhearted radiance to the brushstrokes of dozens of gifted artists, and left them capably distilling sweetly flowing raw solar energy with the tender care of loving parents who seek to bless their children's youth and adolescence with the utmost imaginative uncompromising love and sacrifice, and simultaneously, through an act of synthetic genius, fluidly articulated the starstruck luminescent incandescent joyful orchestrations of the children as well, thereby exemplifying freespirited innocence and wonder, like an enchanting and carefree perpetual Christmas morn, Loving Vincent harnesses gregarious gifts and shares them with modest intent bewilderment, delicately crafting an image of a curious soul, who was tragically misunderstood if not overlooked by dull considerations of propriety.

I'm sure Loving Vincent will view well on a television screen, but it's so worth checking out in theatres.

To say that it should be seen in theatres wouldn't be fitting, however, due to the laissez-faire chill style of the lauded humble subject in question.

I agree with the postmaster (Chris O'Dowd), animals really can know your heart at first sight, but you have to be willing to know theirs too in order to notice.

It's like they intuitively sense love, good, evil.

More than 100 artists came together to craft Loving Vincent's unique oil paint animation.

Quality and quantity immersed in effervescent equilibrium, it's like collective conscious soul, cinematically reified, by acrobatic admirers.

What a painter.

What a calling.

What an artist.

His conflicted infinities, ingeniously underscored.

His extant outputs, kaleidoscopically exceeding.

The Dictator

Okay, let's take a big piece of autocratic shit, give him plenty of time to express himself, strip him of his privilege, place him within a formulaic situation which usually exemplifies redemption, and use his despotic voice to ambiguously promote substantial social democratic initiatives.

While satirically making light of reprehensible realities in order to suggest that disengaged nihilism can make one actively receptive to anything.

In an unrestrained salute to decadence.

Equating the structural socio-economic realities of dictatorships with those found in democratic countries makes a powerful point, representative of the Occupy Movement, perhaps attempting to speak to some who ignored it by encouraging their revulsion not only to Aladeen (Sacha Baron Cohen) but also to the formula creatively used to try and generate knee-jerk sympathy for him.

Without the revulsion, however, a socialist/fascist dialectic presents itself wherein socialist initiatives (multiculturalism, universal healthcare, public education, freedom of speech, . . .), which progressively attempt to provide workers with agency so that their voice can play a meaningful role in the ways in which an entity (a business, corporation, parliament, school) conducts its affairs, are sadistically separated from their collective foundations by acts which attempt to convince them that since they have this agency, this voice, this individuality, they are therefore no different from your average plutocrat/monarch, and should consequently regard collective actions as being beneath them, seeing as monarchs often have more important things to concern themselves with than the impoverished concerns of their subjects (which are pervertedly generalized as being the result of morally corrupt characters).   

The relationship between Aladeen and Zoey (Anna Faris) in The Dictator examines this dialectic by having a tyrant work at a collective organic grocery (Free Earth Collective).  While working, Aladeen demonstrates his complete lack of social understanding (monarchs are not like workers) and Zoey is so naive she ignores the multiple signs indicating Aladeen's sadistic tendencies.

And after Aladeen employs a stiff upper lip to improve her business's efficiency she marries him and helps to introduce a number of ineffectual political reforms within his home country.

Hence, The Dictator rashly sanctifies a maniacal potentate to level out the Western/Middle Eastern political playing field while indicating the need for change by wickedly evidencing how disengaged things have become.

There's a lot of corruption out there but for every Stalin there's a Tommy Douglas. 

Greece is not Norway, Sweden or Finland. 

Your vote does matter.