Driven

A greedy pilot hits hard times after the FBI catches him transporting drugs, during a trip where he also visits Disney World with his family, dissolute rupture, grievous error (Jason Sudeikis as Jim Hoffman). 

He agrees to become an informant rather than spend 30 years in the can, and he's set up with a house in the suburbs with a modest income to keep up appearances.

With nothing major immediately materializing he has time to relax and socialize, meeting John DeLorean (Lee Pace) of all people, the two strike up a laidback friendship.

DeLorean's trying to find a way to create and manufacture a unique car, which harnesses years of hands-on experience, in a smooth flowing incomparable ride.

But it's a rather complicated affair involving manifold intricate parts, how to build it, where to build it, how to market it, while still maintaining control of his company.

Hoffman's advice proves fertile and the project sees mechanistic germination, and although there are impassioned critiques, forward motion is swiftly accelerated.

Jim and his wife (Judy Greer as Ellen Hoffman) enjoy their new life attending parties without having to work, but the FBI hasn't forgotten their commitment to engage in duplicitous sincere snitching.

As problems abound for DeLorean it becomes apparent he needs 30 million.

Which Hoffman's drug trafficking contact (Michael Cudlitz as Morgan Hetrick) can provide.

If he's willing to boldly risk everything.

Insights into a world I've never understood in terms of practical realization, lucrative ideas productively entwined with the design for commodities people actually want.

I like driving cars they're convenient but I've never really wanted to own one, bus métro and kayak so much less of a bother, not to mention simply strolling around.

It seems like if there's money to be made there are many better ways to acquire it within the law, that don't engender latent paranoia in everything you do afterwards throughout the day.

And problematize flourishing friendships as they do for Mr. Hoffman in Driven, as he struggles with competing loyalties ethically conflicting with frenzied comeuppance.

A cool film nevertheless directly interrogating high stakes happenstance, still somewhat suave considering its blunt extolled intermittent playful hi-jinx.

Perhaps I'll own a vehicle some day, I'm hoping green alternatives are much cheaper (and faster) by the time that happens.

Don't know if I'll drive it that often.

Although it'd be nice to hit the open road. 

The Journey

A bold impromptu countryside drive bears diplomatic fruit in Nick Hamm's The Journey, as two polar opposites combatively discuss Northern Ireland's historic divisions along the way.

One is as unyielding in his convictions as he is appealing (to his flock) in his integrity, a cold hard person of the cloth who cites scripture like he's exhaling the divine to justify whatever it is he happens to be upholding/considering/refuting/condemning.

The other's less austere, a person of the world who's made tough decisions to challenge unsettling realities. He's tired of fighting and seeks a mutually beneficial resolution, a tie that binds, an end to the bloodshed.

The tension's thick as they depart side by side to travel to the airport, but the ostensibly naive inquiries of an undercover chauffeur slowly but surely facilitate dialogue.

Obviously enough, it's difficult to have a conversation when a participant is unwilling, when someone trades jibes and insults rather than reflections and well-reasoned respectful counterpoints.

Martin McGuinness (Colm Meaney) isn't easily dissuaded, however, and his resourceful concerned conciliatory olive branch gradually impresses the much older Ian Paisley (Timothy Spall).

What follows is a light but sturdy passionate yet restrained account of a brilliant diplomatic act, of a political synthesis replete with sympathy and understanding that significantly changed things and reunited integrities estranged.

Inspirational.

The ideological and the practical ingeniously combined, Northern Ireland's example as presented in The Journey provides leaders of all stripes with constructive hands on principles which can promote consensus as opposed to carnage, community rather than chaos.

A tiny country isolated on the edge of Europe which found a working solution so many more cosmopolitan realms never seem to discover, the lasting peace which McGuinness and Paisley embraced resolutely resonates to this day.

As many others have pointed out, the study of history is integral to a nation's identity, but bearing grudges about things that happened long ago can clog things up in the present until there's absolutely no moving forward, history blindly and stubbornly obscuring innovation.

Cynicism breeds contempt if not romance, contempt fosters alienation if not community.

If politicians can constructively clarify innovations at any given moment, contemporary conceptions can progressively promote change, as long as there's a willingness for different cultures to make concessions, or simply recognize the potential of how truly wonderful things can be.

Unfortunately, that's too easy, according to my rudimentary understanding of cultural obsessions with novelty.

Too predictable, too boring.

Perhaps you need that wild unpredicted spontaneous stroke of heuristic genius that brought Northern Ireland together to encourage cultural respect amongst peoples.

Or perhaps peoples really do respect one another as long as tensions aren't politically riled up every six months or so.

That could be it.