Maelström

Conflicting emotions morosely problematize picturesque drab conducive momentum, difficult decisions unconscious mourning requisite paramount agile time off.

Through unfortunate circumstance trouble cruelly abounds with the mobile lucrative family business, cascading crucibles Klingon clutches awkwardly aided by a hit and run.

Classic down and out comic lugubrity staggeringly keen to romanticize coincidence, the stars aligned postmodern im/permanence gritty irritable cosmic practicality.

Constant motion demonstrative clarity intuitively reacting to frustrating stimuli, her (Marie-Josée Croze as Bibiane Champagne) family renowned the pressure abrasive outputs enduringly vague inconclusive.

Why all the hassle for simply engaging with piquant particulars precipitous life, the haunting austere adamant duties discernibly daunting lighthearted lackadaisics?

If only taking time off was much simpler a sudden sojourn a querulous jaunt, some place remote perhaps unfamiliar fortuitous fashions restorative calm. 

Not in the cards in this instance as the habitual play grinds dolorous doldrums, although the free sharing of genuine grief begets newfound friendship and lithe l’amour.

A grizzled sizzling disparaging humour harrowingly harks with dissonant certitude, narrated by a fish who keeps losing his head, like your belch tastes like sardines and lime whiskey.

As if the consistent clash of disparate ethics unconsciously produces animate haze, within which peeps must continuously make decisions based upon theories, pragmatism, and expediency.

Within this inherently confusing pinball polemic reason resides, each situation convolutedly clarified through recourse to multivariable mayhem.

The confident decision made can lead to enigmatic trust, any hesitation and everything’s lost even if negatives shake things up.

Social media takes this potentiality to panopticonic levels, like a byzantine web a’ squelched and sticky wherein which myriad strata interconnect.

The clear and rational diagnosis can’t be relied upon to be popular, unless of course it’s fashionable for a monuments brief intersection.

There seems to be less convivial reliance on the sustainability of the collective, as divisive narratives creatively collude to exalt absolute rights.

But Ukraine’s standing tall and fighting off the Russian army.

Wish I could develop a clearer picture.

But then there'd be no maelström.

Terminator Genisys

Commencing once more, this time back where everything began, beginning again to inaugurate forlorn frontiers, Terminator Genisys reimagines its origins, to reflexively commentate, and consecrate anew.

The timeline has changed, as have the order of operations, Skynet incorporating both the personal and the domestic, along with its traditional military allies.

Nebulous nexus, motivate, guide, extend.

The dangers of having a lack of alternative options in the marketplace, monopolistic malfeasance, play an indirect role, Skynet having attracted over a billion customers to its Genisys device, prezoned, its ability to impact massively thereby enhanced, one platform, one strident mechanism.

Mired, fired, and expired, the T-800 (Arnold Schwarzenegger) continues to battle more advanced models, unyieldingly dedicated to protecting Sarah Connor (Emilia Clarke), Kyle Reese (Jai Courtney) doubting his reliability, after travelling back in time, to 1984.

The T-800's really quite touching.

He has an endearing way of expressing himself, and his comic aspects, notably developed in Rise of the Machines, productively flourish, theoretically postulating like STNG's Data, complaining about the shortsighted cruelties of belittling dismissals, and infiltrating a hospital with love in mind to bear.

How he came to love is a matter for the following sequels to discuss, his programming perhaps having become so used to Sarah's comforting presence, to the purpose and companionship with which she constantly provides him, that an artistic subroutine miraculously generated, a jet scream's genesis, Terminator Genisys.

Don't praise the machines Kermode.

Internally within the progressions of the franchise, within the growth of a character over a 31 year span, it does seem as if he loves, as if crying is something he somehow learned to do.

Perchance revolved excused and ruffled.

The franchise does progress, adding a contemporary dimension as previously mentioned, the Dysons (Courtney B. Vance as Miles, Dayo Okeniyi as Danny) showing up again, issues of fate expanding and contracting like predetermined infinities, the O'Brien (Wayne Bastrup/J.K. Simmons) character
functioning like a cooler Dr. Silberman, whom I still would have liked to have seen, they used him so well in T3.

Still shocked by what happens to John Connor (Jason Clarke), but it fits with the anti-monopolistic theme, even if it encourages a nuclear hemorrhage.

To be operated upon in subsequent films.

It's really aware of itself as a franchise now, the Terminator films, so this film relies heavily upon its legacy, there's a stronger sense of independence in the others, like they weren't setting up a trilogy, while still striving for uniformity akin.

Apart from number 4; events from Salvation are ignored.

It isn't that bad. I started liking it after watching it 3 times.

The duplicated scenes lack the intensity of the original.

The dread.

There's no Bill Paxton.

They should have spent more time on those.

Nice to see the franchise alive and kicking.

Tough to think of where it will go, without coming across as excessively dry.

Everyone's together in the end.

They might still be together at the beginning, next time round.

Unheard of.

Chinese Take-Away (Un cuento chino)

A random gravitational incongruity crushes a soaring romance after which one partner haplessly finds himself mired in a self-inflicted mimesis.

Thus Jun (Ignacio Huang) travels from China to Argentina in search of his uncle where he meets a frigid loner (Ricardo Darín as Roberto) by chance who is firmly set in his ways.

Jun doesn't speak any Spanish and Roberto dislikes house guests but the good samaritan Roberto keeps locked within persuades his finicky craftsmanship.

But as those with whom he must interact to find Jun's uncle ironically do not posses the same level of social reflexivity, things take a lightheartedly combative turn, until fate forecasts its fortuitous frequency.

Decisions made, gut garnished, ethos, codified.

But it's really not that cheesy, I mean, Sebastián Borensztein's Chinese Take-Away (Un cuento chino) does press the curds but if you're interested in seeing a heartwarmingly blunt piece of extroverted reticence, primarily focused on an eccentric small business owner's stubbornly withdrawn principled hardboiled tact, wherein fascists and communists alike take their comeuppances, it's fun to watch.

Sensitive, enumerative, obdurate, and tender, assuredly a go-to-option if dating and seeking to sneak in an alternative cross-cultural b/romantic comedy.

I'm assuming that's what people who date are trying to do.

Regardless of gender.

The Imaginarium of Doctor Parnassus

Intermixing fate, superstition, religion, individuality, gambling, dreams, ethics, history, economics, showmanship, temptation, Terry Gilliam's The Imaginarium of Doctor Parnassus provides a phantasmagorical panoramic synthesis of parapsychological proportions. A religious guru (Christopher Plummer) makes deal after deal with the devil (Mr. Nick played by Tom Waits) only to fall further and further into his demonic clutches. When we first meet the immortal Doctor Parnassus, his daughter Valentina (Lily Cole) is days away from becoming the exclusive property of Satan, and, due to his lacklustre antiquated bush-league performance values, the Doctor has no hope of reversing her fate. But shortly thereafter, his travelling troupe discovers a man hanging from a bridge (Heath Ledger as Tony), and, after saving his life, benefit commercially and ontologically from his gifted oratorical skills. So a new wager must be made which the Prince of Darkness generously conceives, the first one to capture 5 souls receiving sole access to Valentina's future, souls being captured after they enter Doctor Parnassus's Imaginarium, which is the Doctor's imagination physically manifested, the dimensions of which are cultivated according to the imagination of whomever happens to enter (the souls have to decide whether to travel the high or low road within, those flying high becoming the Doctor's possession, those not, Satan's). As Valentina falls for Tony, and Tony's credibility deconstructs itself, Anton (Andrew Garfield) falls by the wayside, and the Doctor must come to terms with immortality. The past and the future then destructively present themselves without recourse to binary oppositions or stable, enduring dispositions. One part romance, two parts tragedy, three parts reality, four parts fantasy, The Imaginarium of Doctor Parnassus competently delegates intergenerational gesticulations, while mysteriously emphasizing transcendental transmutations. Plus two.