The Hit

Extravagant teething steadfast stream notorious nettle lucrative gang, candlestick caution versatile temper floored execution galavant getaway.

Mechanized methods interrogative vocal witness protection continental coda, renewable readymade convertible cloister filament folio aggrieved annotation. 

Mischievous moil literate leisure lorbital library penitent play, bumblebee bustle velodrome vintage innocent moxy cavalier quota. 

Determinant dank diabolical influx tenacious threshing bucolic bantha, syndicate scooping equipped acquisition featherweight fetters rotisserie hide.

Irritating logistics indolent imposition interminable road trip improvised irking, semanticore switch calculated kidnapping indefinite stitch calisthenic contagion.

Erroneous calcite callous communication serendipitous infatuation enamoured intuition, bullheaded attrition voluptuous vexing diehard disentanglements endowed absurdity.

Bookworm contention variable learning sincere reflection keen undertakings, unexpected conversation lighthearted argument artistic reticence instinctual interest.

Comic implosion gloomy humour immiscible remnants juxtaposed jubilee, cerebral severance streetwise baccalauréat Walden urbanity Thoreau-row-row.

Blossoming friendship disciplined obscurity confusing insights angelic equipoise, ambient frustration peaceful serenity sentiment solace teddy bear traction.

Dogmatic decibels uncertain agua offhand distraction lickspittle legion, tumultuous confidence brittle intransigence bulbous oath victual vow.

Blunt obfuscation treasurefeit truffle sideshow ambivalence mangy magenta, awkward perseverance nocturnal chum misinformed magpie telemetric trigo. 

Joie de vivre living-the-art-life chill peace-of-mind inherent discrepancy, books for the soul omnisciently so serious or carefree existenz philos.

With Terence Stamp as the age old dreamer. 

Putting on quite the show.

Criterion Keywords: Terence Stamp.

Odd sensibility, stark eccentricities. 

The Adventures of Mark Twain

Mark Twain elaborately concocts a unique imaginative flying machine, upon which he chases Halley's Comet with three fortunate literary stowaways. 

Tom, Huck and Becky are unsure as to how to proceed, and never really settle into the versatile invention, inquisitively searching for structure and meaning while instinctually absorbing the bountiful narratives.

Stories within yarns within tales within legends creatively emerge with theoretical whimsy, presented through curious lighthearted exploration as the kids heuristically investigate away.

A ship much more like a mind its multivariable elements cascading, through trial and error and riveting hypotheses its temporal comportment ahistorical.

Perhaps part of the paradigm shift which led to much less severe religious interpretations, wherein which the literal executions lost their prominent cultural influence.

A move away from exacting obsessions with extremely precise uptight rules and regulations, to a more open-hearted freeform compendium liberally composed through manifold alternatives.

Twain himself struggles with the dutiful recognition of a regenerative constituent bipolar renaissance, within which his psyche proactively duels while realistically resonating rationales less ideological.

Difficult to suppress the reflections at times while ethically composed and poignantly accentuated, the active latent indissoluble antipodes habitually insistent with reckless remonstrance.

Thus, the importance of laidback comedy from pent-up time to pent-up time, not the new obsessive violent variety but the less destructive impulses of Twain and Chaplin. 

Twain's ideas and clever witticisms are seductively sprinkled throughout the script, his observant well-timed well-crafted comments judiciously diversifying tact and treatise.

Not often a public figure is so universally commended without crude accompaniment, when do you ever here anything negative critically mentioned about the old school phenom?

The Adventures of Mark Twain may have passed under the radar way back in my youth I admit I had never heard of it, at least until around this time last week when it suddenly seemed like a cool film to see.

Definitely a chill film for children interested in reading and bizarro imagination, a claymation gateway to a world of books poetically awaiting at the local library. 

Twain's insights make the film fun for grouchy adults who might not want to watch another kids film at the same time.

Perhaps overlooked due to its harmless unorthodox reflections on religion.

Which I thought were charmingly displayed.  

Sounder

Full of well-meaning spirits and calm regenerative congeniality, a trusted backwoods family resiliently scrapes by, working hard but not left with much due to the colour of their skin, wage equality still a long ways off, along with equal opportunity.

Generally speaking, reasonable goodwill assurédly structures their social relations, Paps (Paul Winfield) even pitching for a local baseball team, his family adoringly watching close by.

But one night temptation assails his oft self-sacrificing composure, and frustration from a lack of success hunting leads him to steal meat from the town's local smokehouse.

Had he earned more from the most recent harvest he wouldn't have been so uncharacteristically covetous, poverty rationally driving people to extremes especially when it's regarded with cultural invariability. 

He's taken to a local work camp where he's forced to spend a year toiling, his oldest son (Kevin Hooks) stricken with wholesome regret, his resourceful mom (Cicely Tyson) offering loving counsel.

When his son comes trying to find him he stumbles upon an African-American school, with a dedicated inspirational teacher (Myrl Sharkey) who takes a curious supportive shine.

She loans him some rather thick books and offers him a place to sit back and learn.

But to take it he'll have to move.

After his father returns with a salient injury.

The feisty ingenuity of learning and education constructively reverberates in Martin Ritt's Sounder, where schooling and bold instruction foster change and imaginative verve.

It's motivating to see the enthusiastic student overflowing with determination to improve, in a respectful and challenging environment creatively founded by genuine altruism.

It's a wonderful time the school days when you're surrounded by multivariability, and several different subjects to study, with other students also keenly appreciative.

So much diversified potentiality eagerly disseminating widespread fascination, with practical knowledge and theoretical know-how manifestly awaiting novel syntheses.

Through active engagement with the storytelling arts such inquisitive wonder is proactively sustained. 

So many ideas so much latent productivity.

Sincerely brought about.

By compassionate educators. 💗

The Boy Who Harnessed the Wind

A small village in rural Malawi struggles to make ends meet, farmers reliant on the yearly harvest to generate vital income.

The Kamkwambas have been working hard with the hopes of sending their son to school, they've even paid his initial deposit and purchased the requisite uniform.

William's (Maxwell Simba) eager to learn, to excel, but needs time to sit back and study, competing demands ensuring time management's a full-time strict priority.

As school progresses and routines conflict drought descends with stifling severity, and his family can't pay his remaining tuition and must subsist on meagre preserves. 

But his sister's dating his teacher so he thinks of a crafty plan, and gains access to his school's modest library keeping instructive books on hand.

He's quite adept at finding solutions for quizzical electronic conundrums, his practical fluency highly valued by friends and neighbours and family.

He finds books that teach him new things and give him ideas he never thought possible, including a way to irrigate crops during the lengthy hot dry season.

With this method his family and others can plan to grow crops throughout the year, the extra harvest a bountiful godsend scientifically engineered. 

But book learning's still highly suspect and his idea simply seems too radical, his father (Chiwetel Ejiofor) fearful of making things worse should it fail to produce as planned.

The Boy Who Harnessed the Wind celebrates bold dynamic learning, in an environment suffering from extreme hardship, without staples or resource to spare.

It's a shame the library within wasn't public and required so much wealth just to access it.

Creating public libraries can be rather difficult if there's little to tax, but communal initiative can spearhead exuberance to keep infrastructure intact.

The sharing of ideas the transmission of knowledge the transformative vast applications, await people seeking solutions to questions they may never have known how to ask.

Myriad subjects augment traditions with novel imaginative spice, skies opening up within reason as ingenuity serves to entice.

You can learn a lot through chill conversation while working on various projects, but sometimes the right book will present years worth of discussion in less than 200 pages.

William reads such a book and makes an incredible difference in his community.

Resiliently daring to dream.

Cultivating robust yields. 

With Joseph Marcell (Chief Wembe).

*Also, a great film directed by an actor (Chiwetel Ejiofor).

The Bookshop

So many harmless ideas.

Why would anyone protest if you wanted to open a bookshop for instance, why would anyone critique sharing ideas and stories, generating dreams, nurturing imagination, long before even television was taken for granted, especially in a small town with no local bookshop?

Books obviously enrich the mind in ways that television and film can't, I simply mention the town's lack of televisions to emphasize how grossly realistic things must have been at the time, for those regularly searching for alternative adventures and fantasies, or sharp cutting-edge non-fiction.

It seemed logical to me, in my youth, that if you wanted to open a store and freely sell things such as books or pizza you would be free to do so.

The thought of living somewhere where the government suddenly banned thousands of books and ideas or forced you to consume specific narratives without comment is baffling and inherently self-defeating.

The Bookshop's set in Britain not long after World War II and I've always taken it for granted that the United Kingdom was rather open-minded at the time, not so naively that I figured there weren't social issues or endemic inequalities that prevented groups and individuals from flourishing, but naively enough to suppose that if you wanted to open a bookshop in a small town without a bookshop, on your own property, you would be able to do so without legal interference.

Bizarro.

Monopolistic tragedies.

Isabel Coixet's The Bookshop is a brave soulful examination of an independent chap's immersion in local culture.

She was so beautiful.

Where many scenes would have ended in similar films, many of The Bookshop's keep unreeling complete with clever added details/suggestions/conflicts/hopes that add so much more to the courageous narrative.

Phenomenally laidback performances well-versed in bucolic sophistication calmly yet severely manifest palpable joys and tensions, actors acting in a serious film as if they were acting in a serious film, cultivating their craft, intently focused on their art.

The Bookshop's like that small town gem you've heard about where you can buy the most wondrous things off the beaten track and they've never even considered advertising.

It's as modest as a Sunday school teacher yet as fiery as a proactive country priest/rabbi/reverend/imam.

Some scenes seem to have been included to simply celebrate life, notably when Florence Green (Emily Mortimer) and Christine (Honor Kneafsey) are unexpectedly showcased at ease playfully enjoying themselves while working, or when Edmund Brundish (Bill Nighy) and Ms. Green are unsure how to end their first meeting, propriety suggesting they part although neither of them wishes to do so.

I'm still terrible at coming and going.

If only life were always spent in the middle of conversations.

A must-see film overflowing with pluck and integrity.

I can't imagine having to shop for books exclusively online.

You can't browse the shelves.

Find the perfect book you never knew you were looking for.

The Book Thief

A struggling family adopts a young girl (Sophie Nélisse as Liesel) in pre-World War II Germany as the fascists's political agenda rapidly spreads throughout the country.

Ideological indoctrination confuses intelligent youth who can't understand its narrow-minded discipline.

The focus is on the good Germans, the ones who were simply trying to make ends meet during difficult economic times and were forced to come up with survival strategies ad hoc as repugnant discourses gained social traction, followed by war.

The Book Thief unreels from a child's point of view and the film is primarily geared towards children.

I'm used to finding more depth in children's films, meaning that they're sometimes more engaging for adults, but that's not necessarily a criticism, insofar as the kids in the audience were likely fully engaged, and it was made for children.

Still, it accentuates the senses of fear and helplessness conscientious citizens feel when trying to express themselves within oppressive environments dominated by violence, but in an oddly inconspicuous way that leaves the impression that nothing could possibly go seriously wrong, even while war breaks out and the hunted desperately seek shelter.

This explains Death's (Roger Allam) avuncular yet cumbersome narration.

The importance of reading is at the forefront, an individual's desire to expand her mind contrasted with what happens when highly fanatical aggressive groups who never had any desire to expand theirs suddenly control the military.

Nazi Germany was responsible for destroying Europe in the first half of the 20th century, but, according to practically every article I read about the European Union, they're currently saving Europe from total financial disaster, playing a much stronger role than either France or Britain, no doubt due to the strength of the good Germans depicted in The Book Thief, their environmental concerns, and resolute calm.

Viewing The Book Thief in this way helps to detach unconscious direct correlations between Germany and Nazism, which, after you've seen around 100 World War II films and read many books on the subject, is an unconscious direct correlation that's tough not to make (like Mexico and drug cartels [more {some?} American films with Mexican characters who aren't labourers or members of a drug cartel would be nice]).

These correlations can then be replaced by less volatile caricatures, as Germany's contemporary status suggests it deserves.

Thus, when you think of Germany, try not to immediately think, Nazis, a period of their history that more or less ended in 1945, but think, getting rid of nuclear power, focusing on green technologies, economy remains strong even after the integration of East Germany, saving the European Union, fiscal responsibility, which are aspects of what's happening now.

Not so easy to do, I know.

But I've done it. So I know that it is possible.