Chrysanthemumbles

Florial stigma calisthenic clutter

chatterbox chowda grimacing gruel,

discordant snag touchdowncast iron

tenacious troll bitesize embankment. 

Cheerio chisel postal precision

indented margins Kodiak foal,

dilapotato tumbledown thesp

neolithic narration sculpted foam.

Tame effervescence mild precipitation

meteor showerefore chocolate chips,

decadent fluke lithe charisma

gloatisserie gleam sugar shack shimmy. 

Sonarly squiggle sonorous swag

écoute les hiboux verdant pulse,

evergreen surroundings wild inculcation

incorrigible shuffle lay 'doctrination. 

Glade befuddle transfixed aura

solar elixir ceremonious glide,

edible berries serene implosion

subconscious subset manifest slumber.

Ludicrous luncheon anthropomorphized 

exacting impossibility convex shards,

mid-afternoon tea recuperative snack

animate alchemy wondrous conv'lution.

Crisp calabreeze dainty declamation

febrile compartment improvised custom,

embeelzebubbly uproarious hilt

glib variation fomenting blush. 

Trowel delegation indesjardins

potentate proxy Methuselah mettle,

indisposed quake irrelevant zounds

primordial spool waylaid tricoté.

Decathlon flummox insolvent decorum

itinerant craze barmy sombrew,

mellow expedient corrugated crib

impersonal jinx delicate moj'.

Cloven dispersal magnanimous herd 

ungulate gammon Venetian blinds,

coal collocation charming flamb

disorderly douse famished liaison. 

Stagnating roundabout coiled disposition

slithering sidewind donutter frill,

lucid illusion chomp chomp chomp chomp

acquisitive faction surmontivideo. 

Gallant excursion fluid residual

snowbelt contorsion bonhomme luge,

insatiable iris tasty cuisine

convivial vacay studious sliver. 

Excelsior

Obsessed with grades a curious squad introspectively comports themselves inquisitively, compulsively attuned to meticulous vibrations shrewdly endowed with austere form. 

Studiously aligned to exacting rhythms they reflexively defy comatose expediency, and proactively consume everything they can instructively regarding knowledgeable life. 

Intricate methodologies furthermore facilitate domestic tasks and fruitful expenditures, as elaborate meals exhaustively enable vast culinary insights into grand gustation. 

Public transit indeed suffices as automobiles require monthly payments, and work conflicts with reading and study as esoteric guidelines promote seclusion. 

They note the habits of other people as peculiarly generating otherworldly impulses, which seem to have less novel interest and lack the allure of imaginative exhibition. 

Until one day they're voluminously tasked with audaciously attending a music festival. 

At which they encounter points of view.

Randomly delivered with disengaged artistry. 

It's fascinating to watch as exoteric alternatives creatively emerge with dynamic flair, and democratic evaluations of discursive thought begin to outmanoeuvre hierarchical remonstrations. 

Instead of vitriolically delineating opposing viewpoints as distasteful, the raw newfound classifications deconstruct traditional liturgies. 

As they listen to conversations which don't have a point and aren't competitive, the resulting nonsensical energetic whimsy magically encourages inclusive insights. 

I liked how the utilitarian exposure led to less venomous codes of conduct, and the accidental immersion in illogic subterraneanly diversified stilted constructs. 

It reminded me of my youth in the country when I hung out with people who had no use for school, and I used to love listening to their odd discussions which were so very different from life at university (they called me dainty). 

They were like unique unconcerned orchestrations naturally overflowing with authentic life, people who actually cared about people, instead of just writing books about how that's a great idea. 

Cool flick. 

Little Women

Sisters living together in old school bucolic surroundings, lively animate reckonings overshadowing speechless gloom.

A cross-section of formative events congenially pitched and harmonized, love and care guiding inquisitive actions, a mother providing lucid instruction.

Not necessarily gloomy, it just seems like it must have been that way, so locked down in one specific set of circumstances, without the internet lying in wait.

But Little Women emphasizes grassroots creativity, or wholesome bonds forged through familial endeavour, the theatre as tantalizing as postmodern film, perhaps predating phrases like the art of conversation.

If people had no technological distractions to prevent them from directly interacting with one another (I'm reinterpreting the phrase), and dialogue flourished throughout the course of the day, conversation may have seemed less like an art form, and more like something freeflowing and natural.

Discussing topics at length may not have been reserved just for soirées and seminars, and sundry nuances may have been eagerly explored, by loquacious lackadaisical candlelight.

Perhaps with less of an emphasis on making weak arguments appear strong, and more of a desire to encourage prosperous articulation, people actually making their own nightly narratives, and debating while casually observing.

I was monitoring the activity of a relative the other day, who overflowed with tenacious curiosity, and I was somewhat relieved when The Last Jedi caught his attention, and I could then worry less about inspired destruction.

But I checked myself for having such thoughts, and took to heart accusations of entropy, for I should have been eagerly engaged, and ready for every distinct counteraction.

As parents prior to television no doubt must have rigorously been, how much tighter family bonds perhaps were back then, how much more available people were to please, how much more time there might have been for tasks at hand.

I'd like to read essays and/or books comparing 21st and 19th century pastimes, and Little Women as well, to learn more from its compelling story.

Greta Gerwig's film's exciting to watch, and kept me captivated from beginning to end.

It focuses on goodwill and charity at times which pleasantly caught my attention, not just because I saw it during the Holiday Season, but also since I rarely encounter self-sacrifice in contemporary film.

Or conversation.

Good things happen when people commit to reducing poverty and make healthier green alternatives more accessible.

It seems like the cast had a lot of fun while making it, but still worked hard to create a good film, the kind of vigorous reliable teamwork that can be facilitated by an emphasis on cool.

Having fun off screen while sincerely delivering when it's time to work, Little Women's most impressive, like working in Montréal.

And I've found a fictional companion for Ethan Hawke in my personal filmic pantheon (in my head), the one and only Laura Dern (Marmee March), they both keep showing up in so many cool films.

They've been around a while too.

Sort of like Harry Dean Stanton but not the same.

Not that the rest of Gerwig's cast didn't impress.

Left the cinema feeling happy.

Die Kleine Hexe (The Little Witch)

A novice witch (Karoline Herfurth as Kleine Hexe), full of pluck and curious mischief, abounding with energy and playful vigour, seeks to attend the communal Walpurgis Night, even though she lacks the requisite age.

She's only 127.

But she still feels it's in her best interests to clandestinely attend, ignoring the counsel of her loving raven (Axel Prahl as Abraxas), who advises caution with reliable amiability.

She's bored and can't resist the lure of good times however, and soon finds herself engaged in outright revel, doing her best to cavort at ease, underneath the enchanting night sky.

But she's discovered, and reprimanded severely, forced to engage in voluminous study, under threat of the loss of her powers.

She's too light of heart for the others, yet wants to fit in regardless, but has trouble spreading fear and contempt, as she's coldly encouraged to do.

Abraxas warns her.

And her actions are under surveillance.

But warmth and good cheer still spellbindingly animate, as if kindness were resolute, and understanding crystal clear.

A spirited apprenticeship.

Enriching good deeds.

Die Kleine Hexe (The Little Witch) briskly excels at conjuring mirth and wonder, unconcerned with traditional role play, enamoured with innocent charm.

Tasks can indeed be clad in bemusement, and rigour as fabled as distress or scorn, but slowly and surely hard work endeavours, to bewitch the belittlingly thorned.

If you're not fond of Kleine Hexe and her raven, the film may seem a little (or way) too much, but if you appreciate their wondrous candour, it overflows with bizarro amour.

He's a cutey.

Grown weary with the passage of time.

Focusing too intently on Hexe's relationship with the older witches may have resulted in too much conflict, even if the ending's far too easy.

As it stands, Hexe's goodwill and daring affably adjudicate, even if she struggles beneath a grouchy unamused cloud.

Not Abraxas, the other witches.

I thought it was going to be a cartoon when I bought my ticket, but was still pleasantly surprised by the sets and costumes.

Not as well balanced as the Harry Potter films in terms of magical diversity, old witches bad, young witches good, but perhaps such a comment is well beyond the film's target audience, which may have been no older than nine, at least younger than 11, although really, what's a postmodernist to say?

I thought it might be a new European Secret of NIMH or Last Unicorn.

And wish ravens could talk.

Alright film.

Overflowing with fun.

Character driven.