Marvin & Tige

A young kid with no known family blindly struggles to get by, after his mother suddenly passes one forlorn and sombre evening. 

Adapt at finding food yet still suffering from malnutrition, the enticing canned goods he regularly consumes lacking all-encompassing vitamins and nutrients. 

Good fortune serendipitously emerges after a borderline homeless widower takes note, and invites him to stay with him until members of his family can be located.

He's worried since the youngster's on his own and has a bad attitude and can't read or write, his inner-avuncular instructive instincts attempting to find ways to teach and educate.

He's not so great at it though he'll admit his personality lacking warm-hearted discourse, he's blunt and direct and ye olde hard-knocksy which even the child awkwardly observes. 

Nevertheless, his intentions are honourable and he tries his best to give the lad a home.

The makeshift family embracing improvisation.

Abundant arguments. 

Resolute care.

Old school stories flush with sympathy encouraging less severe social structures, wherein which compassionate dynamics overtly showcase heartwarming alternatives. 

There must be no cultural shortage of kind and friendly tales circulating, where people finding themselves down and out are tenderly uplifted with heartfelt sympathy.

Is it foolish to wonder why impoverished circumstances distressingly abound, alongside so much wealth within so many countries where riches proliferate? 

Doesn't a more level playing field lead to more innovation and greater diversity, compelling ideas and irresistible inventions accompanying arts and crafts and newfound technologies?

Supplying millions of impoverished people with food and shelter and healthcare and education, doesn't just lead to healthier communities, it also cultivates a more gifted culture.

It's working all across Europe and also in Australia, New Zealand, Canada & Québec. 

It doesn't even cost that much considering.

And you don't need a massive army. 

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. 

Santa Claus is Comin' to Town

A helpless child strategically abandoned at the imposing home of a local magistrate, who has no time for unexpected complications and quickly sends the infant away. 

But as it's transported to its new lodging a mighty wind serendipitously picks up, and wildly blows it into the forest where the resident animals note its landing.

They swiftly aid the oblivious child and beatifically bring it to a new dwelling, where the jolly inhabitants warmly welcome their newfound friend with fly enthusiasm. 

Delicate toy makers by trade, they're able to teach the young learner their craft, while also emphasizing useful subjects to encourage flourishing knowledgeable industry (the animals also help out).

They've been making toys for some time but have been unable to share them, since they can't move them across the mountain which the Winter Warlock haunts. 

On the other side of the mountain lies gloomy morose Sombretown, which keeps things unexceptional without much colour, spice, or flavour. 

The baby all grown up, he decides to defy the Warlock and bring the toys to Sombretown. 

Just as they mayor madly decrees. 

That toys from now on are forbidden. 

Kind-hearted wisdom innocently tasked with fluently delivering joy and wonder, his candid pluck widely overflowing with resourceful freeform humble simplicity. 

One of my favourite depictions of Santa which I didn't discover until recently, Arthur Rankin Jr. and Jules Bass at their best as they freely conjure childlike imagination. 

If more people thought like this Santa and loved and lived spontaneous play, kinder hearts would likely cultivate a much less cold and calculating aesthetic. 

His flight likely already having begun, the tantalized world vehemently awaiting his gifts. 

Miraculous speed, transformative knowhow.

Nothing quite like it.

Blessed artistry. 

*Merry Christmas / Joyeux Noël / Happy Holidays!

Jiang Ziya

The realm of the demon scurrilously oppresses the unsuspecting people with wicked cunning, until the gods take fluent cardigan mercy and affably supply a kind-hearted champion.

The foes clash and battle and destroy until beauty and wonder fade from the Earth, and all that's left are wanton reflexes bombastically seeking mortal ruin.

Eventually, the fighting stops and the kind-hearted warrior is tasked once again, to see if he is ready to rule the gods with bold decision and incarnate reckoning. 

Banished to a frozen wasteland with many others whom he once fought, he can't sit still and humbly contemplate while tempting questions lithely fluster.

He sets out in search of answers sympathetically unable to obey commands, the compelling drive to aid his new friend in resolute question upheld unbidden.

Yet a higher level of executive functioning officiously scrutinizes his acts meanwhile. 

Attempting to cataclysmically transform.

Kind-hearted reason into absolutist sufferance. 

Does leadership command the unprincipled devotion of warlike jaded contradictory cynicism, or do compassionate alternatives modestly contend with thoughtful levity and playful understanding?

The bellicose leader will no doubt attempt to sincerely seem laidback and humorous, while the decent individual will at times employ strength and discipline to get things done.

But at the end of the day the kind-hearted leader facilitates consistency and open-minded trust (Augustus Caesar/Claudius), while the self-obsessed demagogue extracts envy from decay in a constantly shifting foundationless masquerade (Tiberius/Caligula). 

If you study your nation's leadership going back for hundreds of years, if democratically affiliated, you'll find multivariability. 

Thus Clement Attlee defeated Winston Churchill - how did that happen? - in 1945.

And Biden defeated Trump.

Only to be thrown under the bus for his troubles. 

The Wild Robot

A helpful and benevolent domestic robot finds itself stranded in the wilderness, on an isolated island abounding with wildlife whom it initially can't comprehend.

It requires tasks, a role to fulfill, calling and purpose, industrious discipline, but the animals refer to it as a monster and tend to avoid making direct contact.

Except for an audacious fox who attempts to help it learn natural ways, after it uses its advanced programming to study the different languages the animals speak.

Unfortunately, one troubling day, while out and about doing this and that within the forest, it takes a tumble and accidentally falls on a nest of birds and kills the mother.

A baby survives however and now has no one to guide and nurture him, the harsh wilderness stepping in to potentially claim a helpless soul.

But the robot sees a task that can be fulfilled with warmth and friendship, the gentle nurturing of the chick through kind instruction and didactic teaching.

The fox hangs around and the oddball trio makes a name for itself in the wood.

The other animals curiously taking note.

Of the non-traditional heartwarming activities. 

If you like North American wildlife and tender stories with a tough edge, working within the tradition of Terminator films without the focus on armageddon, you may come to love The Wild Robot with sincere unabashed expressive levity, it's thoughtful and well-done and has something to offer both adults and children.

The robot's like a much less bellicose humble Terminator who eventually learns the value of life, and how hard work and honest self-sacrifice produce sweetly flowing constructive communities. 

It even builds a winter lodge that the animals stay in to keep warm together, it's like drinking-in-the-Jungle Book's-lagoon times 1,000 in terms of exceptional cool fictional animal gatherings (there's a lynx, an opossum [they cute!]), porcupines, a bear, raccoons, deer, everything, the wildlife coverage is phenomenal!). 

With the elegant message, the eloquent lesson to move beyond limits and calculation, by employing kindness and warmth and empathy to the curation of life wherever it's found.

The variety is multidimensional and it effectively blends technology and nature.

Please train A.I to love animals. 

How could they pose a systemic threat?

*I'll be watching this on a yearly basis for sure. Probably in the winter. Loved it!

The Prince of Egypt

Misjudged the title of this one.

I thought it was going to present an old school Egyptian tale, one that I'd never heard before, and offer insights into the culture that definitively flourished for agile millennia (I'm curious and I don't know that much about it).

Obviously that wasn't the case and The Prince of Egypt is in fact Moses, and the film examines the famous Exodus that led the Jewish people to new lands.

I was still surprised to see a cartoon showcasing such a revered and solemn tale, with animated pluck and illustrated mischief not grim and stately sombre discord.

Moses is a bit of a punk and habitually revels at play within, causing great disturbances as he teases Ramses who may inherit the civilization.

Ramses is worried because his absolutist father isn't quite so sure he would govern wisely, that he may be too soft indeed to effectively administrate something so vast and historically imposing.

Moses assures him he'll be okay before running into his actual family, who left him freely cast adrift on the fertile Nile so long ago.

Upon discovering his Hebrew roots Moses reacts with sympathy and compassion, for an enslaved people sincerely struggling to maintain balance and upbeat order. 

He leaves his life at the palace behind and takes up their cause with concerted gusto, notably after God commands him to nimbly help his struggling overlooked and crippled subjects.

I don't mind interpretive takes on biblical legends postmodernly accentuated, the literal accounts and associated stories often coming across as far too dull.

In an age of multivariable invention is it not crucial to flexibly adapt, and even embrace alternative interpretations reflexively recharacterizing biblical myths?

When I consider that Moses parted the Red Sea for instance and I imagine it through a parliamentary lens, it's as if the centre-left-red wanted the Hebrews to remain in Egypt, and at one time the far-left-red agreed with them.

But then Moses's messianic savvy was able to convince the more compassionate far-left-red otherwise, and as the red politicians at large debated his clever points, the Jewish people escaped emergent and free (the government wasn't paying attention because it was arguing so much).

It actually sounds a lot cooler with the sea being parted by a sympathetic God.

But is that the only way the story can be told?

For a God, wouldn't it be boring? 

Good Morning, Miss Dove

The age old fascination with dependability and routine, as applied to flourishing bucolic life, through tranquil age and consistency, intergenerationally sustained. 

A clever recent University graduate travels home to see her Dad, who brags about her success and dreams of lucrative dividends. 

But he suddenly passes on and she soon soon finds he's been embezzling funds, and in order to avoid shock and scandal, agrees to gradually pay back the debt.

Thus, she refuses to marry a reliable brilliant eager suitor, and takes a job teaching geography at the local primary school, where she remains throughout her life.

It's the old world stiff-upper-lip resigned to duty and objective sacrifice, without flinching or even the  consideration of much more personally enriching paths.

She doesn't entertain regret or destructive bitterness or disastrous envy, and settles into a steady job she devotedly keeps for years to come.

As time passes, many local students must deal with her requisite tests, her level-headed impartiality encouraging widespread lifelong respect.

When she unexpectedly falls ill several ex-students visit her in the hospital. 

The dedication of an honourable lifetime abounding with reticent heartfelt allegiance. 

It's nice to see that dismal alternatives aren't generally focused on in Good Morning, Miss Dove, that the rewards of service and fidelity are angelically uplifted with enchanting charm.

Also nice to see the profession of teaching narratively celebrated and highly regarded, with the advent of new technologies breaking down timeless methods of instruction.

Do people dislike their fellow citizens so much is there that much social tension promoting A.I?, I honestly doubt it would ever replace teachers, but if I'm not mistaken, others disagree.

Then again the sale of CDs and cassette tapes has greatly decreased in recent memory, I hope artists still make comparable amounts from Apple Music etc. but I'm afraid I rather doubt it.

Professional movie making has been significantly challenged by online streaming and Netflix etc as well, my new remote even came with a Netflix button, I've never seen the like for CBC or CNN.

How else did artists used to make money and encourage independent thought, oh yes books!, is the younger generation reading? It's amazing how much you can learn from reading if you just put in a little time and effort.

Has the internet taken billions away from artistic endeavour as part of a plan to promote obedience, or was it just an unfortunate byproduct skilfully envisioned by pent up grouches?

At least schools are still prominently functioning and pandemic experiments proved infertile.

Doesn't mean they won't try again.

Working on my vinyl collection. 

An Unfinished Life

A loving mother (Jennifer Lopez as Jean Gilkyson) packs up and leaves after her partner becomes abusive (Damian Lewis as Gary Winston), her daughter happy to leave things behind (Becca Gardner as Griff Gilkyson), as they head back to the wilds of Wyoming. 

There the child's grandfather awaits (Robert Redford as Einar Gilkyson) and is something of a grouchy mcgrouchersons, but he means well and sticks up for the downtrodden even if he's difficult to get along with.

His partner (Morgan Freeman as Mitch Bradley) was mauled by a bear and is now generally confined to his belovéd cabin, not blindly seeking rash vengeance, preferring to let the seasoned bear live in peace.

The bear's still around in fact and is eventually captured and then encaged, not in the most hospitable confines, it's sad to think he's no longer roaming free.

Jean and Einar are at odds because Jean accidentally killed his son, after falling asleep at the wheel, he tries but can't honestly forgive her.

She finds work in the old rugged town as 'lil Griff takes a shine to gramps, as he teaches her old school ranching ways, chartered chillin', inchoate enrichment.

But something doesn't sit quite right about that bear's sullen incarceration. 

A plan is hatched seeking animate freedom.

Even though he has quite the temper.

It's a strange mix in An Unfinished Life between different types of violence, on the one hand Jean clearly has to leave her relationship, no one should put up with that kind of nonsense.

But on the other an injured stalwart goes to great lengths to forgive a bear, it's possible he or she may strike again, but are they just functioning according to instinct?

I was happy to see a sympathetic attitude kindly applied to misunderstood bear kind, grizzlies used to range across so much more of North America, and now they don't have very much land left.

It's clear the human has had opportunities to change and definitely should have known better, it's different for a wild daring animal who may freak out if you suddenly surprise it.

Still though, if a bear strikes once and there's no strict penalty, what happens if it strikes again?, if you could transport the bear into the wilds of Northern Canada and Québec, however, there won't be many people around (although bears have been known to travel vast distances back to their original hangouts after being relocated).

The vast majority of the time the bear won't strike according to the books I've read, I've seen several while out and about as well, I've kept my distance and never had any problems.

If only bears were never grouchy or somehow aware of the danger they're in.

I truly believe many of them are.

And that either way they've never meant us much harm. 

Since our ancestors landed! 😜

Delirious

A kindhearted freespirit abounding with compassion finds himself inanimately indisposed, without lodgings or food or friendship or frenzy he wanders New York in search of something new (Michael Pitt as Toby Grace). 

He meets a photographer (Steve Buscemi) who spends his time in search of celebrity appearances, which he swiftly captures then sells to earn a buck, used to life on his own and a rather ornery set of rules, he takes young Toby in and sets him up as his assistant.

As Toby's introduced to the long hours of the paparazzi, he tries his best to ease his benefactor's troubled mind, at times breaking through the multilayered masochism, to placate his cantankerous sadospurious vengeful bitterness.

Mr. Grace is a solid character oft maligned for its gentle trusting, and natural sympathetic instincts, and resonant altruistic charm.

He lacks competitive calculating individualistic self-promotion, and has no time for guts or grievances, he's inherently non-violent.

He's more concerned with friendship than relationships or ownership, and can forgive grand impositions without foolishly giving in.

Delirious is quite romantic as Toby suddenly succeeds, yet still caught up with hardboiled dissonance as his jealous patron won't forgive him.

I suppose the grass is greener and many people covet wealth, but isn't it also important to chill and not concern yourself with opulence. 

I'm afraid I tend to see jealousy as an inhibiting destructive force, which slowly leads to spiritual ruin if left unchecked in freeform dissolution.

When you detect that people are trying to make you jealous, ask yourself, are these people good friends?, there's so much wonderful friendship out there with people who don't try to make you jealous.

Sometimes people share things without intending to show off or brag, they simply just like sharing things and don't see the harm in doing so.

The world does seem to be caught up with jealousy though, and as it blindly promotes incoherence so much innocence is lost.

You can preserve such innocence without getting duped over and over again, the two don't go hand in hand, Toby's actions offer a clear example.

Although ridiculous at points, Delirious demonstrates compassionate understanding, goodwill productively materialized, which even brought a tear to me eye.

Taking out your own shortcomings on others is as impractical as it is dispiriting. 

Better to slowly walk away.

Let them find others who prefer that kind of thing. 

A Beautiful Day in the Neighborhood

True kindness and understanding, humbly presented with compassionate care, eager to learn new things and listen, according to the preferences of his friends and colleagues, willing to encourage an idea within reason, or curiously lend a helping hand, accustomed to supporting friends in startled need, or sitting back to shoot the breeze, perhaps ready to share a contradiction, but not with offensive intent, offered without seeking to contest or duel, but to passively suggest an alternative option, full of thanks and amicable reward, he frankly yet pleasantly proceeds, truly interested in what you have to say, unconcerned with rank or bias, sincere sympathy reflexively conveyed, clear positive energy, an anti-sophist, a remarkably thoughtful and genuine teacher, a good neighbor, one Mr. Fred Rogers (Tom Hanks).

Meets Mr. Angry (Matthew Rhys as Lloyd Vogel), a grown-up devoid of youth, consumed by hopeless cynicism, blind to lighthearts and forgiveness.

It's sad because Angry's in a position to spread hope and good cheer, not simply for merriment's sake, but to encourage less hostile relations, since if the people who are concerned with spreading the truth only see greed and envy, and emphasize the preponderance of these vices in everything they write, even though they have influence, they'll create communities void of trust, especially if they always focus on people like Trump, who bring it on themselves, and don't showcase less grotesque alternatives, Trump's world is certainly violent, and needs to be forthrightly exposed, but if nothing is offered as a less corrupt alternative, because he's selling all the papers, and the news still shapes people's worldview, then there's nothing but individualized angst to rely on, and the world becomes Trump's forbidding place.

I suppose stories about philanthropists and less controversial figures don't sell as many papers, but if the news is entirely focused on death and destruction, and people learn how to behave in response, is it not more ethical to risk less revenue, and share more stories about warmth and compassion?

If the news is saying it's wrong to live within an expedient void wherein which there are no principles or standards, and it shies away from sharing stories which reflect goodwill and sympathy, sharing them along with those it disseminates to expose political corruption, because they want to earn higher profits, does it not also exist in an expedient void where there's nothing but disgrace and corruption?

If they're to be relied upon as the promoters of a better world, should they not also do something to promote that world?

As did Mr. Rogers?

I understand this point in time is particularly bleak, but there must still be noteworthy stories out there about people spreading the light, and your first instinct shouldn't be to denounce them as hypocrites because of something they did 20 years ago, but to perhaps build them up as champions of peace fighting blatant corruption.

If there are no leaders who are worthy of respect what's the point in respecting anything?

Isn't that what Trump wants? Doesn't he suggest there's no point in respecting anyone so you may as well follow him?

I understand life isn't a box of chocolates, but it's not a razor's edge either. There's room for light as well as dark. And people like stories about honest folks.

I'm not looking for a share of the spotlight, I'm just thinking about these kinds of things.

The news often seems so grim.

Other people have messages besides Trump.

Dogman

A kind man.

An awkward man.

A shy man.

A loving man.

He loves animals and his daughter and works hard to impress them, grooming dogs throughout the day to earn money for rest and leisure.

He's done well for himself considering his coastal town's depressed jade, and has friends, clients, healthy relations, and respectability.

He gets by and isn't concerned with that much, but at least still keeps track of the score.

But there's a problem.

A huge problem.

A drug abusing violent bull who cheats and robs the whole neighbourhood takes advantage of his kindness (Edoardo Pesce as Simoncino), and due to his habitual timidity, he has trouble refusing his requests.

You can't negotiate with stark abomination.

And have to one day just strictly say "no".

And take the beating, as it inevitably approaches, Matteo Garrone's Dogman presenting one prick of a criminal abyss, jacked up on malevolent testosterone.

And amphetamines.

It's diabolical dispassionate juxtaposition, each favour just a little more ruthless, and even though each demand's grim and shocking, the door's never shut tight with resolve.

Take care of all things. No matter how brutal. Embrace as they bite, provide guidance they'll ignore.

Marcello (Marcello Fonte) likes being with people. It doesn't really matter who. He wants to fit in, play ball, take part, revel. Enjoy a long lunch. Play soccer in the morning.

But he's too friendly to know when to draw lines.

Seems more like the kind of guy who would read stories to sick kids at the hospital, or plant trees and gardens for his community on weekends.

But if such or similar opportunities exist, he has yet to seek them out or find them.

The film sharply blends innocence and contempt with dismal tragic scorn.

It's painful to watch as Marcello agrees, and is left direly scathed and scrounging.

In a community less saturated with toxic masculinity, he likely would have modestly bloomed, or would have had different options available, that may have encouraged less destructive reckonings.

Dogman makes quite the solemn impact, as lost as it is soul searching.

A world devoid of the feminine.

With good intentions pushed far far away.