Near Dark

The carefree mosey experimental random newfound chill relations, inspire paramount misfortune archaically clad nocturnal vision.

He (Adrian Pasdar as Caleb Colton) must admit he likes her (Jenny Wright as Mae) but is still critical of what he's become, after her loving playful bites lead to vampiric transformation.

The sudden shocking discovery of a mobile team menacingly manifested, leads to trepidatious tumult potential incompatibility. 

He needs to feed to gain their trust but humanistically can't take lives, resultant vehement disputes suggesting alternative pair bondings.

But she wants him to hang around and freely lets him gourmandize, until there's trouble at a round up and he lets a terrified victim flee.

Mistrust immoderately showcased his life in danger Caleb pleas, before a gallant move reinstates fidelity through hearty cursed chagrined hiatus.

Yet his family's on the move engaged in heartfelt search and rescue, they manage to kindly find him, and introduce novel transfusion. 

Back amongst the living regenerated soulful sessions.

The reunion somewhat brief.

Acerbic obfuscation. 

Kathryn Bigelow's chilling Near Dark keeps things focused on the present, haunting vampires there may be, but there's little discussion of origins or community.

It's a visceral macabre romance featuring moribund exclusivity, that keeps things raw refreshed immediate impassioned daring bold l'amour.

Endemic confidence upholds spirits as declarations intertwine, direct unflinching pains existence accredited frank anon disclosure. 

I'd never heard of Near Dark and was eager to watch Bigelow's take on vampires, co-starring so many Aliens alumni, that may be a cool double feature.

It doesn't create a world like Twilight or revel in myth and legend.

But its forlorn ritualistic candour.

Still facilitates crazed verisimilitude.

Bizarro romance.

Passion.

Detroit

Kathryn Bigelow's Detroit examines a horrific event from America's past that took place during the explosive Detroit riots.

As the twitterverse and the video technology built into postmodern cellphones vigilantly documents contemporary life, providing unburnished blueprints of power being abused, the prolonged illustration of police brutality found in the film seems shocking yet all too familiar.

How do you bring these two groups together, African American communities targeted by the police and the trustworthy police officers committed to treating them fairly?

If one group targets another for decades and becomes more like a bully than a protector, it's difficult for the victims to trust that group or assist them when their help is needed.

That targeted community deserves the same protection other communities enjoy and it would be terrifying to think that the very people hired to ensure public safety were in fact hostile and unwilling to assist.

The positive forces of progressive change are often overlooked within a sensationalized frame that predominantly focuses on violence.

They must be working together behind the scenes to fight both crime and police brutality, with stricter penalties for police officers who shoot first and ask questions later.

It must be difficult to trust if you see innocent members of your community killed by the police, and then the offending officer is set free with a slap on the wrist.

It must be difficult to trust if the authorities generally think you're troublemaking.

Decade after decade, no respite in sight.

Despair contending with animosity, historically nuanced to permeate strategic plans.

The African Americans I've worked with were first rate, working hard throughout the day while relaxing and having thoughtful and fun conversations during lunch and breaks, like the other people I've worked with over the years.

There's no difference unless you ignorantly approach the situation with destructive preconceived notions that turn a typical interaction into an eggshell extravaganza.

Detroit realistically and bluntly presents a racist tragedy perpetrated by those who blindly consider violence to be an effective tool.

Hemorrhaging and monstrous, it openly investigates that which remains unimagined, hopefully teaching confused individuals and communities just how horrendous miscommunication can be.

I suggest never pulling a prank on the police, rather, it's best practice to listen and do what they say.

Even if it makes no difference when they do that in Detroit.

There are thousands of police officers out there who care and are there to protect and serve.

Hopefully they can surely remove the racist motivations from the force, which encourage unrelenting tension, and replace trust and friendship with contempt and conflict.

Zero Dark Thirty

Accumulation. Asseveration. Evisceration.  

Kathryn Bigelow's bureaucratically bitchin' tenaciously pitchin' Zero Dark Thirty nonpartisanly coordinates the clandestine predications of a resilient stalwart team.

In/directly lead by Maya (Jessica Chastain).

Militaristically maneuvering from the collection of data to the formulation of hypotheses to the execution of ideas, they uniformly act like the production of a covert thesis.

Perhaps this thesis asks, "can we successfully fabricate a concrete entertaining internationally provocative blueprint which periodically articulates anti-terrorist protocols which seem bona fide yet cleverly dissimulate each and every event that took place, apart from the lengthy ending, thereby functioning as overt espionage (and trumping Argo)?"

This question may be a bit much considering that what takes place seems to follow a logical asymmetrical pattern the fabric of which conceals/reveals both sides (as depicted in the film) regardless.

Nevertheless, even though its bravado is qualified by stats and potentialities, Zero Dark Thirty impresses practical unrelenting retributive necessities across its apolitical spectrum, collocating resourceful avatars with seductive sentiments, in a potent, charismatic, collection.

The Hurt Locker

The Hurt Locker's script (written by Mark Boal) skillfully brings the Iraq war to life. Somehow, it manages to calmly present snapshots of 39 days of a bomb squad's Iraq rotation. We aren't bombarded with left-wing or right-wing propaganda regarding whether or not the war is justified. Instead, we simply observe a group of soldiers as they go about their business of warring, doing their best to pacify the country. In fact, in one scene two soldiers (Jeremy Renner as SSG William James and Anthony Mackie as Sgt. JT Sanborn) discuss why they're fighting and neither of them can come up with an answer. And no direct answers are provided, although at least two collaborating viewpoints are established, one suggesting that war is a drug and participants are addicted, another, that soldiers defuse bombs to save children. Altruism or expediency?, probably a combination of both considering how psychologically complicated things must become after you've been fighting for awhile. Answers: there are no answers but there is a war and there are people fighting it. Director Kathryn Bigelow (Point Break) objectively displays this fact and gives us enough credit to come to personnel conclusions of our own.