A surprisingly well crafted visceral revenge flick, a frenzy attuned to instinctual reflexivity, just in time for Halloween, John Wick delivers a fast-paced sophisticated personalized bloodbath, continentally conceived with considerations for respect, an elite world of criminals, immaculately imploding.
Wick (Keanu Reeves) is a legendary assassin who retired to settle down with his wife who then died, leaving behind a small dog to remind him of her.
He goes for a drive in his automobile one day, and the son of a Russian gangster requests its sale.
He refuses and drives away.
The son then visits him in the middle of the night, beats him senseless with the help of his goons, _____ the dog, and steals the car.
Wick wakes up the next day composed yet enraged, in preparation for an insane rampage designed to express his dissastifaction.
It's a very basic plot, but the visuals, dialogue, music, acting, and combat scenes crystallize a uniform carnal indignant balance, almost Lynchean in terms of surreal elegance, comedy awkwardly yet cursively situated to allow the film to concentrate on internal affairs (the police aren't involved [editing by Elísabet Ronaldsdóttir]), the invincibility factor realistically deconstructed inasmuch as Wick almost bites it a number of times, saved here and there, by trustworthy old friends.
I think the cast and crew really took the making of this film seriously which could be why it stands out.
Casting by Jessica Kelly and Suzanne Smith.
Look for David Patrick Kelly.
Probably didn't have to be quite so violent.
Showing posts with label Rules. Show all posts
Showing posts with label Rules. Show all posts
Friday, October 31, 2014
Sunday, March 30, 2014
Bad Words
Goals.
Objectives.
Means.
The will to live.
Guy Trilby (Jason Bateman) must be crowned national spelling bee champion at age 40 in order for his unerring orthographical prowess to be forthrightly recognized, his youthful competitors and their parents somewhat infuriated by his choice, the drive to accelerate concocting regardless, asinine assiduity acrimoniously idealized, congruent considering, the rules of the game.
Friendship and romance are cumbersomely nuanced with playful degrees of sharp insouciant admissibility, jaded alcoholic weariness slowly transforming into infinitesimal merriment, as trashy transgressions legitimate their inclusivity.
Bad Words is a solid mix of pejorative eccentricity and misanthropic mirth.
The friendship between Guy and young Chaitanya Chopra (Rohan Chand) tenderly transitions the tempered tailspin.
Was going to use some of the challenging words from the film in this review but they're simply too much.
It's subtly hilarious when some of the irate parents can't hide how impressed they are with Guy.
Rollin' with the punches.
Spelt infinitesimal wrong while writing this out.
Loved the spelling bee antics.
Wonder if writer Andrew Dodge (great script), who at least justifies his use of the stubborn ass, ever saw the episode of Get a Life where Chris Peterson (Chris Elliott) discovers he's a genius after consuming toxic waste and then decides to win as many spelling bees as he can, episode 9, season 2, Chris' Brain Starts Working.
Objectives.
Means.
The will to live.
Guy Trilby (Jason Bateman) must be crowned national spelling bee champion at age 40 in order for his unerring orthographical prowess to be forthrightly recognized, his youthful competitors and their parents somewhat infuriated by his choice, the drive to accelerate concocting regardless, asinine assiduity acrimoniously idealized, congruent considering, the rules of the game.
Friendship and romance are cumbersomely nuanced with playful degrees of sharp insouciant admissibility, jaded alcoholic weariness slowly transforming into infinitesimal merriment, as trashy transgressions legitimate their inclusivity.
Bad Words is a solid mix of pejorative eccentricity and misanthropic mirth.
The friendship between Guy and young Chaitanya Chopra (Rohan Chand) tenderly transitions the tempered tailspin.
Was going to use some of the challenging words from the film in this review but they're simply too much.
It's subtly hilarious when some of the irate parents can't hide how impressed they are with Guy.
Rollin' with the punches.
Spelt infinitesimal wrong while writing this out.
Loved the spelling bee antics.
Wonder if writer Andrew Dodge (great script), who at least justifies his use of the stubborn ass, ever saw the episode of Get a Life where Chris Peterson (Chris Elliott) discovers he's a genius after consuming toxic waste and then decides to win as many spelling bees as he can, episode 9, season 2, Chris' Brain Starts Working.
Saturday, September 28, 2013
Gabrielle
As love's vitalistic harmonies musically surge, ecstatically flourishing for the curious young couple, condescending and encouraging conceptions cut-off and receive their rapturous transmissions, best interests taking shape in both evaluations, the scurrilous and the sanctified, amorously pressured.
To imagine that someone would attempt to prevent something as beautiful as Gabrielle (Gabrielle Marion-Rivard) and Martin's (Alexandre Landry) feelings for one another from joyously entrancing is beyond me, as if love is solely reserved for the prescient and the punctual, rather than for anyone caught up in its (initial) emancipating embrace.
Louise Archambault's Gabrielle does visually and pensively craft several scenes which explore the dangers facing Gabrielle should she choose to live on her own, practically and remorsefully nuancing their breadths, while nurturing her bold explorations.
Better to seek than to writhe.
Love's highly impractical anyways, regularly striking at inopportune moments, to which the application of hindsight can strive to sear logic, and succour an empirical spirituality.
Gabrielle and Martin cogently access their mutually supportive luminescent crunch, the unfortunately partially transgressive aspect of their unity only serving to further strengthen their resolve.
The film's progressively cautious competing rationalities motivate a conjugal oscillation, an illustrative illumination, stabilized through bliss.
To imagine that someone would attempt to prevent something as beautiful as Gabrielle (Gabrielle Marion-Rivard) and Martin's (Alexandre Landry) feelings for one another from joyously entrancing is beyond me, as if love is solely reserved for the prescient and the punctual, rather than for anyone caught up in its (initial) emancipating embrace.
Louise Archambault's Gabrielle does visually and pensively craft several scenes which explore the dangers facing Gabrielle should she choose to live on her own, practically and remorsefully nuancing their breadths, while nurturing her bold explorations.
Better to seek than to writhe.
Love's highly impractical anyways, regularly striking at inopportune moments, to which the application of hindsight can strive to sear logic, and succour an empirical spirituality.
Gabrielle and Martin cogently access their mutually supportive luminescent crunch, the unfortunately partially transgressive aspect of their unity only serving to further strengthen their resolve.
The film's progressively cautious competing rationalities motivate a conjugal oscillation, an illustrative illumination, stabilized through bliss.
Sunday, October 9, 2011
The First Grader
Post-colonial Kenya. A public education system is introduced. Free education for all is announced. The vast majority of new students are children.
But one 84-year old former member of the Mau Mau resistance who fought against the British seeks an education as well. Determined to learn how to read and write in order to have a better understanding of his surrounding worlds, and read for himself what is written in a letter he received from the government, he stubbornly adheres to the rules when his initial attempts to gain access are rebuked, and is eventually given admittance to an overcrowded rural classroom.
Kimani N'gan'ga Maruge (Oliver Litondo) becomes a peculiar presence at school but one whom facilitator of learning Jane Obinchu (Naomie Harris) finds endearing. The administration does not share Jane's sentiments and consistently reminds her that by 'everyone' the government means 'every child' and that they already do not have the resources to teach every child and would be incomprehensibly overwhelmed if every adult sought a free education from grade 1 onwards as well. Their statistical analysis coalesces with the community's jealous censure of Maruge's activities to make life exceedingly difficult for both teacher and learner.
But they endure.
Justin Chadwick's The First Grader is a powerful film that demonstrates the enormous benefits that can result from exceptions, or, in this case, literal applications, when the practical ethical results outweigh the economic forecasts. Obviously with scant resources at their disposal a Department of Education would be unable to educate every illiterate citizen right off the bat, let alone every child, but seeing how only an extremely small percentage of such citizens over the age of 20 would choose to be educated with children, why not make an exception for those who do, instead of blindly upholding a rigid principle?
Taxation is at the heart of the matter and the question of whether or not you want to pay higher taxes in order to ensure your children/relatives/friends/neighbours mature in a dynamic learning environment fully equipped with engaging professionals and resources (the same ones provided for students of private schools) that vigorously nurture and develop their gifts?
Maruge's gifts are nurtured and developed and he has a positive influence on his fellow classmates as well. His struggle to learn functions as a prominent example of someone courageously seeking to receive the same remarkable educational opportunities that many people in Western countries simply take for granted.
But one 84-year old former member of the Mau Mau resistance who fought against the British seeks an education as well. Determined to learn how to read and write in order to have a better understanding of his surrounding worlds, and read for himself what is written in a letter he received from the government, he stubbornly adheres to the rules when his initial attempts to gain access are rebuked, and is eventually given admittance to an overcrowded rural classroom.
Kimani N'gan'ga Maruge (Oliver Litondo) becomes a peculiar presence at school but one whom facilitator of learning Jane Obinchu (Naomie Harris) finds endearing. The administration does not share Jane's sentiments and consistently reminds her that by 'everyone' the government means 'every child' and that they already do not have the resources to teach every child and would be incomprehensibly overwhelmed if every adult sought a free education from grade 1 onwards as well. Their statistical analysis coalesces with the community's jealous censure of Maruge's activities to make life exceedingly difficult for both teacher and learner.
But they endure.
Justin Chadwick's The First Grader is a powerful film that demonstrates the enormous benefits that can result from exceptions, or, in this case, literal applications, when the practical ethical results outweigh the economic forecasts. Obviously with scant resources at their disposal a Department of Education would be unable to educate every illiterate citizen right off the bat, let alone every child, but seeing how only an extremely small percentage of such citizens over the age of 20 would choose to be educated with children, why not make an exception for those who do, instead of blindly upholding a rigid principle?
Taxation is at the heart of the matter and the question of whether or not you want to pay higher taxes in order to ensure your children/relatives/friends/neighbours mature in a dynamic learning environment fully equipped with engaging professionals and resources (the same ones provided for students of private schools) that vigorously nurture and develop their gifts?
Maruge's gifts are nurtured and developed and he has a positive influence on his fellow classmates as well. His struggle to learn functions as a prominent example of someone courageously seeking to receive the same remarkable educational opportunities that many people in Western countries simply take for granted.
Friday, April 2, 2010
Zombieland
Keep to the path and follow the rules, unless, of course, you're in search of a twinkie. Ruben Fleischer's Zombieland hilariously and absurdly chronicles the death-defying feats of four post-zombie take over survivors in the United States of America. When a hopeless situation arises there's always a serendipitous solution. If your neighbour suddenly turns into a flesh craving representative of the undead, remember the double tap. While fleeing the legions of zombies seeking to devour your post-pestilanic consciousness, make sure to pursue a little romance. And if in doubt, thoroughly express your rage but don't forget to fasten your seatbelt.
Legions of the undead is perhaps to strong a phrase insofar as Tallahassee (Woody Harrelson) and Columbus (Jesse Eisenberg) find themselves ditched and weaponless in a town whose resident zombies are curiously abstaining from their cannibalistic pursuits; but this is an absurd campy comedy whose internal chemistry supports such logical inconsistencies. Give 'em the finger, when a weapon's been used once, discard it; beware of clever fast-talking survivalists (Emma Stone as Wichita and Abigail Breslin as Little Rock); and it's never to late to check out Pacific Playland. If you're going to function as an individual, things are bound to be tough; and uniting your interests in order to obtain common objectives requires a cultivated degree of expedient trust (your chances of succeeding being ridiculously sublime) (in the beginning you have plenty of opportunity to proceed unnoticed). The showdown will eventually come and your success is dependent upon the reception of your cultural/musical/political/commercial/ . . . aesthetic. Just follow the lead of these four reluctant heroes and you're bound to receive critical acclaim.
Legions of the undead is perhaps to strong a phrase insofar as Tallahassee (Woody Harrelson) and Columbus (Jesse Eisenberg) find themselves ditched and weaponless in a town whose resident zombies are curiously abstaining from their cannibalistic pursuits; but this is an absurd campy comedy whose internal chemistry supports such logical inconsistencies. Give 'em the finger, when a weapon's been used once, discard it; beware of clever fast-talking survivalists (Emma Stone as Wichita and Abigail Breslin as Little Rock); and it's never to late to check out Pacific Playland. If you're going to function as an individual, things are bound to be tough; and uniting your interests in order to obtain common objectives requires a cultivated degree of expedient trust (your chances of succeeding being ridiculously sublime) (in the beginning you have plenty of opportunity to proceed unnoticed). The showdown will eventually come and your success is dependent upon the reception of your cultural/musical/political/commercial/ . . . aesthetic. Just follow the lead of these four reluctant heroes and you're bound to receive critical acclaim.
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