Raising Arizona

At times, the constructive benefits of living a dull yet productive life, fail to impress the potentially high-rolling illicit transgressive provocative crowd.

But enduring grace ironically saves an awkward confused convenience store thief in Raising Arizona, as he falls in love with a beautiful cop who takes his picture every time he's brought in.

He eventually wins her hand and they soon swiftly realize they're indeed somewhat married, and therefore expected to responsibly nurture uptight consistent bourgeois contingencies.

Things take a grandiose maladroit turn when friends from the joint come a' humbly calling, however, having escaped and in need of a place to slyly hold up for the foreseeable future.

It's even more intuitively stern since H.I and Ed were unable to have children, yet recently noticed that a furniture salesperson's wife had just had quintuplets on down the road.

They then managed to acquire an active son through ill-gotten-improvised lacklustre means, yet in their attempts to forge a legitimate family were ill-prepared to accommodate felons.

With bounty hunters in search of the youngster and the destitute guests planning a lucrative heist, the conjugal duo just tries to raise junior and function as respectable husband and wife.

A tumultuous tale effervescently bound to inordinate cascading of diligent degrees, effectively unable to immersively ameliorate as chaotic circumstances diabolically dishevel. 

Comedic instincts wildly disseminating a lack of balance and cohesive structure, the cultural rules and abrasive regulations perhaps too stable for such ways of life.

Alas the embrace of dependable codes can seem inalienable when viewed from a distance, but if attempting to randomly realize them you may encounter highfalutin infrequencies. 

Consulting a laidback professional such as a marriage counsellor or family planner, may lead to less outrageous conduct should you have difficulties succeeding as one.

H.I and Ed don't really seem like readers but there are television shows and documentaries that can also help.

Note that they're both striving to make things work.

And likely doing a better job than ye olde Kermode. 

Cutthroat Island

Born into the pirating lifestyle nimble Morgana instinctually dissembles, wary of trust yet a Captain indeed after her emboldened father is scurrilously betrayed. 

Her crew isn't sure what to think and she must challenge an usurper egads at the outset, her noble lineage fortunately enough to momentarily win over the superstitious complement.

Along with treasure, the knowledge of treasure its lucrative existence at least under consideration, but to exactingly locate it she needs two more sections of a sought after map, one part apiece held by each of her uncles.

One uncle's no doubt rather chill for someone living a mischievous lifestyle, not that he's easy to find or talk to he's just so much more agreeable than his aggressive counterpart. 

The covetous uncle murderously prone who sincerely sent Morgana's pop to frigid depths, isn't quite so avuncularly inclined as she bravely sets out in search of manifest booty.

A loyal cadre rests by her side unwilling to entertain freeform mutinous chatter.

An idle thief introducing an amorous wild card.

Uncanny insistence not to be trusted?

What a strange lifestyle how do you manage to even find markets for your ill-gotten plunder, or obtain a ship or convince a crew to courageously follow you blind on the ocean?

It may be relaxing out on open waters delicately gliding along currents without storm, if you had reached an ingenious understanding with tempestuous fate to contract sights forlorn.

I've often wondered if I would get seasick if an imposing storm suddenly emerged, or if I would just sit back and curiously watch as the incredible spectacle tumultuously unfolded.

I was stuck far from home in my kayak one day when a disturbing storm suddenly dishevelled, but rather than simply land and wait it out under some trees I paddled right through the heart of the tirade.

There was no thunder and lightning and if there had been I may have hit shore.

It was a cool sensation out there on the lake nonetheless.

Paddling through inhospitable bearings.

Cutthroat Island's not so bad if you like pirate movies they don't come out as often as you'd hope, the treasure's buried in a really cool spot that was a nice touch no doubt to be certain.

Must be fun to film out on the ocean the natural elements corresponding at play. 

With all the old ships as well.

The action's consistent and lively. 

The Newton Boys

A struggling family rambunctiously lives off the wild beaten track in the candlelit country, 4 boys with 2 in prison their mom understanding yet still withdrawn.

One of the more ambitious siblings finds himself released one fortuitous day, and makes his way home where he collegially meets two other businesspeople engrossed in scheming. 

They soon a rob a bank thinking the sheriff won't seek them out if they give him a cut, two of them escaping to trade in their loot with a corrupt bank manager in another small town. 

The manager gives them a coveted list of sought after banks with particular safes, which one of them happens to be an expert in cracking, fluidly at ease with ye olde nitroglycerine. 

Things go well, they come up with a plan to only rob banks at night and avoid confrontation, the other brothers, The Newton Boys, soon freely enlisting in the lucrative cause.

Bank insurance is a recent phenomenon so they don't feel guilty for heuristically heisting.

Emphatically engaged with calamitous caution.

Even making their way to Canada.

The ingenious idea to proceed at nighttime to avoid gruesome bloodshed wins hearts and minds, and likely convinced concerned officials that they weren't quite as ruthless as they may have seemed.

It's a tightly-knit bunch habitual disputes between grouchy brothers largely absent, the 4 getting along rather well and even risking everything when one of them's injured.

I suppose that's the cuneiform key form a trusted group and take care of one another, never forget pressing mutual interests nor lose sight of collective goals.

Steer clear of the big score as well they were exceptionally dealing with obscure transactions. 

In search of millions they decisively falter.

Tantalizing fever pitch emboldenment. 

Cool soundtrack if you like lucid banjos and panachy pianos from a different time.

One of them even makes it to 90.

Not freakin' bad.

For such a rough life.

Stillwater

A father whose tumultuous routine led to an awkward relationship with his struggling family (Matt Damon as William), is consumed with obsessive guilt several years later when his daughter's arrested (Abigail Breslin as Allison). 

She's found guilty of resonant murder and sent to prison near the coast of Marseille, her father visiting her there when he can, the flights expensive, work hard to find.

She emphatically proclaims her innocence and on his most recent visit reveals a clue, which gives him reemergent hope as he soon tries to get her case reopened. 

Obdurately blocked however by pressing realities within the law, he buckles-down and radically adjudicates by trying to find the suspect himself.

Problems: he doesn't speak French and is oblivious to local custom, he's also spent most of his life in the rural American mid-west and is generally uncertain as to how to proceed.

Moving forward nevertheless fate soon secures a definitive lead, and provides shelter and cultural refinement not to mention employment and domestic salvation. 

But to find the irascible murderer he may have to pay too high a price.

Caught between cultures and families. 

He instinctually reacts with western-style gusto. 

Expediently extemporary the ethical dilemmas contract and metastasize, no easy answers no glib illumination as a hard-boiled family deals with its own.

As newfound chances wholesomely radiate and enlivened parenthood intricately seasons, bad decisions still surreally occupy a bitter frustrated entombed consciousness. 

He's willing to risk everything he's gained on an assuréd probability which crosses the streams, if things work out, tout va bien toujours, if they fall apart, it's worse than worst case.

Not only that, it soon becomes apparent that his daughter's innocence is not that clear-cut, and that the investigation held in accordance may not have been led quite so far astray.

I wouldn't have taken such a risk new life's far too precious for improvised risk management, it does bring about the sought after ends, but they could have been achieved through less threatening means. 

In terms of a neo-western-film-noir mind*^*& Tom McCarthy's Stillwater internationally succeeds nonetheless.

Nothing quite like amoral gristle.

Destitute detritus.

Mid-winter mayhem. 

The Locksmith

The paramount temptation to freely secure fast endurable easy money, fuelling stock exotic daydreams universally across the land.

So many things to buy so many dreams so many relentless advertisements, the tantalizing independence driving meticulous freeform stacked endeavours.

We learned about advertising in school and through communal discussions way back when, and it seemed like its inherent trickery was generally acknowledged by the critical populace.

And that knowledge was leading to prudent decision making or less rash impulsive purchases, as illuminating logic cut through the uproar and exposed the dispossessing illusion.

It does seem puzzling nevertheless that ads seem to hold more sway now than ever, that even with so much education the fascinating allure can't be seen through.

Therefore, is it education's responsibility to provide a more compelling entertaining alternative, that offers a more appealing cultural collective thoroughly enhanced by constructive minds?

Entertainment has indeed been highly sought after throughout the multifarious ages, whether through discus or sculpture or car racing people have striven to find distraction.

But do they find distraction within the established narratives spearheading impossibility, or within well-reasoned objective impeti cleverly crafted through a sense of fair play?

Rationality can broker enlightenment should cynicism or sarcasm be put down, and a bonafide chill embrace of equality effectively resonate within a community.

But does rationality create more jobs and lead to a more productive impacting workforce, or is it indubitably ludicrous sweet nothings that efficiently devise economic stratagems? 

The uncertain need for ridiculous knick-knacks ephemerally available to be freely disposed of, seems rather insufficient considering, but are they more appealing to the austere alternative?

Perhaps an inquiry should be led to decide the question for ever after, does the cultivation of spontaneous shenanigans outweigh judicious practical life?

Don't countries wherein which life is much more practical and strictly governed, with less nonsense and much more reasonability, have less robust economies?

Is it possible to stop global heating while engaging in carefree initiatives?

Questions for a later hour.

Such a shame to be so serious.

The Rainmaker

Struggling to find anything amidst multitudinous mechanized mayhem, a would-be lawyer strives for steady employment, having already diligently found two potential cases to call his own, he needs a flexible support network, a trusted home away from home (Matt Damon as Rudy Baylor). 

He doesn't have an apartment either but in conversation with a client, secures room and board in her backyard a rather nice place off the beaten track.

He fortunately finds someone to work for but soon a lawsuit comes a' callin', and he's forced to abandon the practise and create a new one of his own.

A resilient legal aid resourcefully assists his fledgling endeavours (Danny DeVito as Deck Shifflet), the two forging a dynamic team harnessing practical and constructive knowledge.

Medical insurance fraud indeed becomes their driving ethical focus, while an extremely distressing spousal abuse case takes up most of Baylor's free time.

They're up against a corporate team who offers them a settlement at the outset, but daring Baylor digs in deep and decides to challenge them in court.

Meanwhile, he's visiting Ms. Riker (Claire Danes) to offer counsel when her husband returns. 

Literally in the fight of his life.

He responds with reciprocal reckoning. 

The direct just how things go realistic hands-on overt narrative, leaving nothing to chance or whimsy everything presented as plain as day.

The latent dream overwhelming at times to simply tell it like it is, with lucid manifest striking composure bravely detailing complex dissonance.

I'd argue you'd have more success with this style or perhaps find a much larger audience, incumbent mystery and bewildering bantha not as appealing from time to time.

With relativity applied however there are manifold layers of concrete communication, one startling stark steady statement taking on several alternative significations.

Thus Dickens or Proust may seem out of touch if you focus intently on John Grisham (which I did in high school [even visiting Oxford, Mississippi {dad wanted to see Faulkner's homestead which was in the area}]), but if you train and practise and up your game you'll learn to harmonize the three.

The Rainmaker presents potential realities with appealing incandescent virtue. 

I loved reading John Grisham in my youth.

Along with ye olde Anne Rice.  

*Also love reading Faulkner.

**Co-starring Mickey Rourke (Bruiser Stone), Danny Glover (Judge Tyrone Kipler), Jon Voight (Leo F. Drummond), Mary Kay Place (Dot Black), Dean Stockwell (Judge Hale), Virginia Madsen (Jackie Lemancyzk), and Roy Scheider (Wilfred). 

JFK

The level-playing field, inherent sportspersonship, in a democracy is change not necessitated by the inquisitive will of honest people?

When someone is elected whose outlook contradicts entrenched lacklustre routine, such contradiction embodies the emboldened principles upon which the nation was founded.

I'm not referring to a situation when someone seeks to rearrange the constitution itself, and make monumental adjustments which indubitably favour absolute power.

Democratic governments persevere because they aren't despotic.

If you think the suppression of despotism is in fact despotic, you need to reevaluate your political outlook, and perhaps study historical examples of various monstrous mechanistic despots.

It was indeed an unsympathetic government astutely equipped with monarchical pretensions, that led to general dismay within the American colonies, and the creation of a country unconcerned with kings.

The political system contains remarkable checks and balances designed to prevent the reassertion of autocratic discord.

But they rely on a sense of fair play.

Which the founding fathers took for granted.

According to Oliver Stone's JFK, President Kennedy wasn't interested in war with Vietnam, and was taking steps to move the country in a different direction, which likely led to his assassination.

He genuinely cared about and forthrightly sought a more peaceful world without violent conflict, a world less lucrative for the sale of weapons, as Jim Garrison (Kevin Costner) resolutely points out.

I often call Biden Michael Moore's president when I listen to him speak at length, he's a genuine person of the people and obviously cares deeply about general fair play.

From a distance, it seems like the only way to get ahead in the U.S if you're not well off is to join the army, and hope you never have to fight somewhere without a legitimate ethical reason (fighting Nazis).

When confronting the startling statistics regarding gun violence in the U.S, I'm clearly surprised it's still so easy to buy a gun, so I asked myself, what kind of country do the people who sell all these weapons to their own people want to maintain?, and the answer is most disturbing, and passionately supported in many circles.

Weapons and violence, the assassination of presidents because they uphold alternative points of view, unravels the fair-minded fabric the founding fathers holistically created.

Is it that hard to work together to achieve productive common goals?

It works so well in so many countries. 

And has often worked in North America too.

Never Let Go

I suppose there are so many cool films from so many old school actors I've never seen, Never Let Go notably showcasing Peter Sellers (Lionel Meadows) in a rather unique uncharacteristic performance, in fact in full-on rank compulsive wickedness this one's shocking to say the least, certainly not ye olde Pink Panther, it may be a bit hush-hush. 

As it should be, the wretched villain knows no decent ethical limit, lovers of turtles and tortoises beware, for he takes his anger out on Testudinal kind, which left me most distressed indeed. 

I sought out the film to see more of Mervyn Johns's work, I had never seen him in anything else besides A Christmas Carol (1951).

Never Let Go is from 1960 and it looks like Johns may have been typecast post-Scrooge, for within he plays a similar character who's fallen upon even harder times.

He has what was known as a newspaper stand (or newsstand) where he sells a variety of papers, journals, and magazines, and lives in a rather modest apartment, his most cherished possession a pristine aquarium. 

He's even more mild-mannered than Cratchit and has unfortunately found little reward, even less after he witnesses a car theft and names names to local investigators. 

The car belonged to a cosmetic salesperson (Richard Todd as Mr. Cummings) who's hellbent on retrieving it, but he's never had much luck when bluntly asserting himself, and initially encounters snide disrespect. 

I can't recall anything else I've seen Todd in and may seek out more of his films, he's like a cross between Richard Burton and Russell Crowe, both of whom I've never seen in film noir. 

Sellers finds him a craftier competitor than he thought he would be at first, and slowly loses his ferocious temper as he comes aggressively calling again and again.

I always hope the Scrooge/Cratchit working relationship will pay dividends for commerce come January, and there's no doubt that for many it does while many more can't comprehend the message.

It was still nice to see Mervyn Johns back at it with that fiery loving habitual strife, but whereas Scrooge can never stifle his passion, the cruel Mr. Meadows befouls indignantly. 

An excessively grim morbid tale scandalously excelling through onerous confrontation, Never Let Go provides unruly disillusionment as everything within is tenaciously crushed.

Strong performances outweigh the lugubrity but still leave fair little preponderant hope.

That poor little innocent turtle.

How could anyone ever be so ruthless?

🐢

Out of the Fog

Two agéd workers productively deal with routine life, having purchased themselves a boat to fish the Atlantic after work in the evenings.

I wonder if people still do this in cities if there are still ample public docks to use, to which peeps can tie up a boat which they can then launch after work at their leisure.

Hostility abounds, however, and soon a local racketeer requires payment, to prevent him from causing a scene which may indeed lead to less recreation.

It's outrageous, Jonah (Thomas Mitchell) and Olaf (John Qualen) don't make much money and their neighbours are chill, imagine leaving a boat tied up in a major city and trusting that no one will suddenly take it.

Must have been a more enlightened age within which goodwill played an important role, and blind distrust didn't ruin collectives who had ensured integrity for many a decade.

The racketeer (John Garfield) then has the nerve to start dating Jonah's daughter (Ida Lupino as Stella Goodwin), her old love interest none too impressed (Eddie Albert as George Watkins), she's hooked on the thrilling criminality.

Olaf and Jonah need a plan that may contradict their traditional habits. 

They may not be high flyin' men.

But can still respond if push comes to shove. 

Out of the Fog is a remarkable film inasmuch as it sincerely concerns itself with laidback seniority, and isn't obsessed with wealth or power and is instead rather critical of ill-gotten gains.

Imagine two heroes with no managerial insights cinematically lauded with genuine pride.

When do people living a modest life ever take centre stage nowadays, as they fight to maintain their lil slice from flagrant goons hellbent on violence?

There was a time when millions of these people got together and unified to challenge corruption, constructively working towards common goals like a 9 to 5 shift and weekends for family.

When the world changed in the '90s it seemed clear to me what peeps should do, the higher-ups and the leaders anyways should act compassionately to avoid a resurgence.

But they didn't of course no one learns instead they looked to the 19th century (we'll get away with it this time), and how well plutocrats and oligarchs had it before common people collectively organized. 

Thus, the cycle's repeating itself although there are millions of peeps trying to stop it.

Joe Biden is trying to stop it.

There's no doubt that he's a good man. 

Green Grow the Rushes

And a country persisted for centuries and its history expanded tenfold, gradually transforming from a feudal to an industrial society, incrementally balanced by royals and parliament.

But the impetus to transform various codes lacked immutable ubiquity, and while some regions emphatically adapted, others simply couldn't be bothered. 

At one time such regions perhaps adapted a more nationalistic ceremonious fervour, calling about grand chivalric dignity to unquestionably praise exalted decorum.

But as time passed, the inherent labour became too strenuous for many inhabitants, and the uproar which once fiercely extolled farming gave way to a somewhat less traditional occupation.

Less traditional?, who's to say?, some jurisdictions were settled millennia ago, and perhaps still unconsciously embrace the same engrained habits as their resourceful forefathers.

Thus, who's to say when Anderida started bootlegging and generally relying on the bounty of the sea, it seems that at one time they at least thought of farming, although over the years it lost local prominence.

Outlaw liquor from the forbidden continent steadily arrives on the shore meanwhile, which is brought throughout the region then perhaps transported all over England. 

A trio of government reps come preaching duty and responsibility, reminding the townsfolk that land must be cultivated according to 20th century guidelines.

But they've had their own laws in the region for many an indifferent decade, enjoying unconcerned jocose seclusion along with its incumbent grey lackadaisics. 

They try to be as hospitable as they can but find the outsiders most invasive, fortunately thanks to tradition and law they have alternative means at their public disposal.

But when a wild storm suddenly lands a large trusted ship in someone's backyard, their ability to jurisprudently deal is somewhat landlubbed by grandiose conspicuity. 

Trusted figures swiftly move into action and soon the 3 customs agents are locked down in court, while local legions dispose of the booty imaginatively inclined with Dionysian wherewithal. 

Just one scant example amongst thousands quietly delineating a nation each day, as its ancient interconnected paths see the onset of newfound desires and traditions.

Caught within a propitious vortex eschewing embracing various codes of conduct, individualistic poised prompt personality instigating schema forthright characteristic.

Why bother seeking downcast monotony, as long as there's inherent equal opportunity?

Uniformity lays bare extremes.

Amidst such litigious frolic. 

Young Mr. Lincoln

Like the coziest pillow outfitting a night's rest, or age old family recipes gastronomically ingratiating, Abe Lincoln (Henry Fonda) sincerely assists various members of his community, cultivating a wide spectrum of socioeconomic congress, through well-meaning bright expenditure, and honest caring friendship.

It was a different age perhaps where civil dreams still coaxed companionship, and thoughts of earnest social harmonies still challenged cynical despair.

In the North, in disconnected jurisdictions kept informed by books and newspapers, racism was courageously fought, as it had been institutionalized down below, with callous cruel appalling reckoning.

To this day it still malignantly divides with misguided cacophonous misfortune.

Strange how it could be taken so seriously.

Generation after generation.

It's nice to watch a story less enamoured with all-encompassing ambitions, one that closely examines a thoughtful slice as opposed to the generalized big picture.

Instead of constant change that sees a new character emerge every so often, in the observant Young Mr. Lincoln, a compelling moment playfully sustains.

Not as overflowing with fact and detail as a wide-ranging chronological compass, but still airtight with specific style and in-depth particular emphasis.

So many stories to be freely told about larger than life historical figures. Why consistently focus on their entire lives? When a down to Earth take will also do.

Mr. Lincoln is perhaps too down to Earth at times in John Ford's exploratory film, but his lack of clever worldly artifice doesn't mean he's not always thinking.

His sure and steady composed even-minded patient modest good humoured nature, earns the regard of the respectful town through heartfelt compassion and boundless energy.

Imagine an honest clever statesperson who was largely self-taught and grew up in the woods, developing an appealing universal outlook that found support in the minds of millions.

It sounds like a political impossibility if you don't believe in grassroots democracy. The fact that men and women like this can still rise to become president speaks to genuine robust American democracy.

Imagine a system that substantially promotes integrity of character along with the pursuit of wealth.

Where one can be prominent without being wealthy.

And massive wealth doesn't ensure success. 

It seems like these ideas are at a low ebb and at times it's tough to fight off disillusion. 

But disillusion leads to Putin.

And Biden fits the traditional model I've presented here in many ways.

All Good Things

Traumatized in his youth after witnessing a parent commit suicide, David Marks (Ryan Gosling) struggles to live up to expectations, his family excessively wealthy in possession of sought after prized real estate in Manhattan, he can't make the corporate adjustments, to productive managerial life.

But in his youth he's less concerned with high-end sustainability, and is even somewhat chill as depicted in the film, so much so that he wins the hand of lighthearted freespirited lass (Kirsten Dunst as _____ Marks), the two forging a constructive team, at home in the remote countryside.

At his best he still remains quiet and hesitates to add much to any conversation, but he's still loving and kind and supportive as his marriage passively progresses.

If only the film had ended there, and they'd simply flourished low key down home, but his father (______ Langella) lures him back to the city and packs on tons of stressful responsibility.

He can't deal he flounders can't float and takes his frustrations out on his wife, refusing to agree to raise his own family, eventually turning to violence.

She comes from a much less reserved family and isn't accustomed to resonant gloom, she still applies herself vigorously to education and boldly hopes to one day attend med school.

But her dreams are cut short one evening indeed she suddenly hauntingly disappears.

Her husband likely having played a hand.

In curtailing her resilient progression.

The Fredo factor in lavish expenditure morosely embracing inanimate doom, feeling compelled to richly role play executive constructs for which he's ill-suited.

He clearly needed to do his own thing but his severe father couldn't accept that, and bluntly pushed him into a mindset to which he could not adapt applicably.

But others could and resounding jealousies destructively emerged in sheer despondency, there's no failure if you can't adapt to stilted stratagems that don't fit your personality.

You need to forget the lofty expectations and ignore ill-conceived hypothetical criticisms of your reputation, and find something that suits your mind, North America's great for supplying diversity.

Take Sherlock Homes as a working example as he's imagined on the brilliant Elementary, he falls into a destructive spiral of drug addiction but bounces back with perceptive resiliency.

His father is also well-off and sternly resents his eccentric son.

But Sherlock emphatically defies him.

And leads a strong independent life of his own.

No Way Out

Senseless racist irrationality destructively wallowing away, after an African American doctor (Sidney Poitier as Dr. Luther Brooks) attempts to save a life, and his truly sick patient passes.

The doctor just joined the profession having recently passed a requisite exam, and even though he's confident enough to make decisions, he still seeks guidance from established professionals. 

When his patient arrived the other night Dr. Brooks didn't have much time to make the call, Mr. Biddle (Dick Paxton as Johnny Biddle) had been shot during an attempted robbery, and was desperately clinging to life.

Dr. Brooks made a call nevertheless which the patient's brother attentively witnessed (Richard Widmark), after tormenting the humble doctor because he was born with black skin.

After the patient passed, another doctor appeared in the room (Stephen McNally as Dr. Dan Wharton), and Dr. Brooks honestly stated he was confident he made the right decision, but unfortunately could have been mistaken.

The volatile brother heard their conversation and reacted with racist venom, claiming his brother was killed due to incompetence while severely critiquing Dr. Brooks's race.

The only way Dr. Brooks can prove his innocence is to have an autopsy performed on the body, but the autopsy can't be performed without the consent of the surviving brother.

Not only does he refuse to give his consent, he also calls up his thuglike friends, and gets them to plan an attack on the local black neighbourhood, the situation becoming more and more insane.

And it's all because a bright student boldly determined he would become a doctor, and put in the necessary years of hard work and study to eventually attain the role.

Racism's disastrous stubborn ignorance almost prevents his career from moving forward, as someone too blind to see anything but skin colour goes out of his way to ruin a life.

Equal opportunity for every race and any individual willing to heed the call, objective analysis isn't qualified by a doctor's ethnicity as emergency medical decisions are made.

Even after Dr. Brooks proves his innocence Mr. Biddle refuses to believe, and with the resurgence of racism in the public sphere, the mass irresponsibility is most distressing. 

No Way Out highlights the pitfalls of racism with shocking language and blunt compression, I was surprised to see this film was made in 1950, I didn't think they made such candid movies back then (when dealing with sensitive issues).

Even though I think they're incredibly irresponsible I can support an individual's right to not be vaccinated, it's their body and even if they're being passionately foolish (remember how wonderful it was when they announced they'd found a vaccine! [with additional vaccines coming later!]) we live in a democracy not a totalitarian state.  

But if their protests start waving the confederate flag and they start preventing local businesses from operating, while irritating local residents, I simply cannot support them: I can't support freedom as it promotes slavery. 

Driven

A greedy pilot hits hard times after the FBI catches him transporting drugs, during a trip where he also visits Disney World with his family, dissolute rupture, grievous error (Jason Sudeikis as Jim Hoffman). 

He agrees to become an informant rather than spend 30 years in the can, and he's set up with a house in the suburbs with a modest income to keep up appearances.

With nothing major immediately materializing he has time to relax and socialize, meeting John DeLorean (Lee Pace) of all people, the two strike up a laidback friendship.

DeLorean's trying to find a way to create and manufacture a unique car, which harnesses years of hands-on experience, in a smooth flowing incomparable ride.

But it's a rather complicated affair involving manifold intricate parts, how to build it, where to build it, how to market it, while still maintaining control of his company.

Hoffman's advice proves fertile and the project sees mechanistic germination, and although there are impassioned critiques, forward motion is swiftly accelerated.

Jim and his wife (Judy Greer as Ellen Hoffman) enjoy their new life attending parties without having to work, but the FBI hasn't forgotten their commitment to engage in duplicitous sincere snitching.

As problems abound for DeLorean it becomes apparent he needs 30 million.

Which Hoffman's drug trafficking contact (Michael Cudlitz as Morgan Hetrick) can provide.

If he's willing to boldly risk everything.

Insights into a world I've never understood in terms of practical realization, lucrative ideas productively entwined with the design for commodities people actually want.

I like driving cars they're convenient but I've never really wanted to own one, bus métro and kayak so much less of a bother, not to mention simply strolling around.

It seems like if there's money to be made there are many better ways to acquire it within the law, that don't engender latent paranoia in everything you do afterwards throughout the day.

And problematize flourishing friendships as they do for Mr. Hoffman in Driven, as he struggles with competing loyalties ethically conflicting with frenzied comeuppance.

A cool film nevertheless directly interrogating high stakes happenstance, still somewhat suave considering its blunt extolled intermittent playful hi-jinx.

Perhaps I'll own a vehicle some day, I'm hoping green alternatives are much cheaper (and faster) by the time that happens.

Don't know if I'll drive it that often.

Although it'd be nice to hit the open road. 

Shaft

Racism erupts with full-on blind distressing malevolence, as an African American steps outside, and is beaten to death by an irate brat.

Previously, the brat (Christian Bale as Walter Wade, Jr.) derisively employed stereotypical misconceptions in a distasteful attempt to brazenly humiliate him, but he responded with calm rebuttals which incisively turned the tide.

A witness to the murder exists but she fears for her health and safety, and swiftly disappears when approached with questions (Toni Collette as Diane Palmieri), detective John Shaft (Samuel L. Jackson) understanding yet unimpressed.

Wade is granted bail and departs for Switzerland shortly thereafter, where he remains for a scandalous two years before he returns and is taken back into custody.

He's granted bail again and makes it known that he's impenitent, yet the witness still exists, which makes him nervous if not frightened.

He enlists the aid of a local drug dealer (Jeffrey Wright as Peoples Hernandez) to discover her wayward whereabouts, but he isn't eager to help, without ample compensation. 

Shaft's on to them as well as members of his own department who are assisting their criminal endeavours, cleverly messin' up their plans, as they engage in grand malfeasance. 

But can he locate the witness in time, and even then, is she willing to testify?

High stakes practical ethical reckoning.

An honest cop, entrenched corruption.

Shaft (2000) delineates hardboiled boundaries with hyperreactive retributive dissonance, freeflowing justice materially manifested through lucid teamwork and reverent calm.

There's more to it than many a cop film as it boldly resuscitates dormant proclivities, by encouraging active prolonged dis/integration within a thoughtful volatile recalibration.

At first I though the subject matter was a bit too blunt, perhaps bordering on the sensational, but considering the shocking tragedies continuously emerging in the U.S, the narrative packs a realistic punch these days.

Is it not preferable to embrace less polarized divisive political optics, in order to cultivate a cultural aesthetic which isn't obsessed with race or creed?

As many others have humbly suggested, in response to different dilemmas over the centuries, isn't it more cost effective and less economically disorienting, to forge common ground upon which to pursue life?

I imagine the police would like to have less to do, or to apply themselves to less catastrophic scenarios.

Hope that's the case anyways.

Life's so valuable.

It's important to live it. 

*With Dan Hedaya (Jack Roselli), Busta Rhymes (Rasaan), Pat Hingle (Hon. Dennis Bradford), and Richard Roundtree (Uncle John Shaft). 

**Outstanding performance from Jeffrey Wright.

Tango & Cash

Two exceptional cops pursuing justice in L.A, the press following their daring exploits, local ne'er do wells unimpressed.

They usually get-'er-done without relying on standard procedure, their results curtailing grand transgressions, their methods critiqued with aggrieved resolve.

They wind up causing so much commotion that they're targeted with cunning foresight, a crime boss thinking it foolish to murder them, preferring to see them locked up instead.

Tango (Sylvester Stallone) is prim and polished if not somewhat bold and reckless, employing formal codes of conduct in both random discussions and choice of attire.

Cash (Kurt Russell) pursues law and order with more passionate critical zeal, unconcerned with upper crust etiquette while expressing himself with enthused vitriol.

A disputatious team polemically and audaciously emerges, as they're both sent to a rowdy prison where they've crossed paths with many an inmate.

Unfortunately for them, the prison guards and much of the administration have been bought by the very same adversary, who was responsible for framing them beforehand, and even stops by to see them electrocuted (Jack Palance as Yves Perret).

Their only chance is escape back at it within the world at large. 

The force reluctant to rearrest them.

At least for 48 hours.

Stallone and Russell actively deliver a fast paced energetic vortex, like a hyperreactive embargo fluidly reverberating high stakes stasis.

From the way it's presented you'd think it's as lucid as hands-on practical exoteric reckoning, if something crazy didn't happen every five minutes to keep the wild plot counterpoising on.

Indeed I wondered if they were characters from a comic book I'd never heard of at times, the entertaining over-the-top scenarios innately fantastic phenomenonally spawned.

If it had been made in the 21st century it likely would have had multiple sequels, it's hard to imagine they didn't make another one, but it was released before the internet and Netflix.

Perhaps that's for the best since it does go way too far, in terms of cowboy cops using brazen violence to achieve jurisprudent ends.

At times anti-immigrant sentiment also bursts forth, and rehabilitative prison goals are directly scrutinized.

I'm afraid I'll have to argue that this one's too prone to discipline and punishment, take a couple of lines out and it's much improved, too sensational for its feigned reasonability.

Daring cop drama tainted by excessive force, lockdowns, and xenophobia, still cool to see Russell and Stallone at odds, they've made many chill films, this one's just too outrageous. 

In the Name of the Father

A young borderline ne-er-do-well buck earns a living through controversial means (Daniel Day-Lewis as Gerry Conlon), his dependable father supportive yet stern (Pete Postlethwaite as Giuseppe Conlon), his animate fortunes fluid yet dour.

He heads to England leaving Belfast behind in search of something non-specific in particular, meeting an old friend on his brisk maiden voyage (John Lynch as Paul Hill), the two finding their way to a commune. 

Jealousies cloud their smooth integration and conflict erupts within the bower, however, firmly necessitating agile itinerancy boldly embraced with freewheeling concessions.

But on that very same eve a long peaceful pub is scurrilously attacked, the two friends in the reckless vicinity, the police searching for someone to blame.

They're soon callously rounded up and slowly beaten into sedate submission, and the cops take their interrogations to the next level, and arrest most of Gerry's close family.

Father and son wind up sharing a cell amongst hardened felons unaccustomed to innocence, young Gerry broken yet looking for friends, aged Giuseppe resigned to his despondent fate.

Years later a determined lawyer resolutely seeks veracious social justice (Emma Thompson as Gareth Peirce), as applied to the wrongfully convicted victims of the heinous crime.

The police know they've imprisoned the wrong people since the legitimate culprit freely confessed.

Yet they're unwilling to admit their mistake.

As the years pass by interminably.  

I think a lot of the time the police do a great job, in fact they've been quite helpful on occasion, wrongfully imprisoning people to appease the public is frustratingly distasteful to say the least however.

Moving forward with intent to convict even though it's probable the suspects are innocent, leads to widespread mistrust in law enforcement, and derivate righteous anarchy.

In the Name of the Father holds law enforcement to account while uplifting honest independent inquiries, as a father and son languish in sensational injustice, and many others face similar sentences.

It proceeds too quickly at times, for it covers a lengthy time period, barely scratching the surface of what could have been said in a prolonged reflective series.

But the moments it does choose to share are considerate and make for thought provoking jurisprudent theatre, poignant pastimes and just grace and dignity cultivating passionate aggrieved freespirits. 

Mind-boggling to wonder why anything like the events in this film came to pass?

They had the proof of their innocence.

Politics and law, a dangerous combination. 

My Cousin Vinny

Proper procedure.

The correct steps to be taken in the precise order.

Never wavering from the script's strict imposing code.

Inviolable structure.

Airtight renditions.

Vinny Gambini (Joe Pesci) possesses the argumentative wherewithal, the incisive logic reasonably applied to ascertain guilt or innocence, but when it comes to the specific testaments concerning how to traditionally proceed, he's somewhat at a loss, and struggles to acclimatize. 

It's like the stellar unwritten rules which drive unorthodox independent filmmaking, have been transferred to a court of law, in Jonathan Lynn's My Cousin Vinny.

Vinny's held in contempt several times to punish his undisciplined disorienting candour, but he takes it in stride unconcerned with pejorative principled checks and balances. 

It was a different time (1992) breaking down barriers which upheld uptight and rigid formalities, in order to accommodate sociocultural differences which hadn't been raised in plutocratic splendour.

Then again, Lydia Berman in Thunder Force invigorates similar non-linear spirits, perhaps a Foucauldian study needs to be conducted regarding American comedy's progressive intentions. 

A lack of room for alternative dispositions can provoke a cynical malaise, nevertheless, and widespread support for flagrant difference which challenges dismissive pretension. 

Of course codes of conduct need to be respected within reasonable non-farcical bounds. 

But if people possess the content but lack the formality trouble will brew if they're left by the wayside (I'm not writing about myself, I like my jobs and oddball inclinations, but there are people much more ambitious than me who may be looking for answers from rowdier sources).

Accommodation works both ways and peeps can't just say and do whatever they feel like all the time.

But if procedures prevent competent employees from competing because they're not wearing an acceptable tie or discussing esoteric topics, with abstract obscurity and orthodox disdain, doesn't the resultant managerial gene pool banally stagnate, and innovation fail to materialize? 

I imagine it's not like that in many spheres, however, and sometimes I forget the multiple representations of provocative difference found in the credits of Michael Moore films.

Exceptions multitudinously grounding.

Alternative visions materialistically conveyed.

I saw My Cousin Vinny in my youth (at Christmas) and was so impressed with Marisa Tomei (Mona Lisa Vito). 

I was happy to see her nominated for an Oscar too.

And was super impressed when she won. 

*A classic.

Madeleine

A flexible titled dreamer finds a new home in Scotland (Ivan Desny as Emile L'Angelier), equipped with the devoted awestruck l'amour of a reputable fervent lass (Ann Todd as Madeleine Smith). 

She's from a stilted family which discourages intrigue however, her love flourishing incognito, concealed in furtive full-on trust.

Her father (Leslie Banks) hopes she'll accept the courting of a well-to-do local lad (Norman Wooland as Minnoch), who's settled within high society and conjugally keen.

He rules their lavish abode with patriarchal austerity, abiding by strict codes of conduct the subversion of which may lead to ruin.

Or the sanitarium or some such place she has absolutely no desire go, the resultant pestiferous pressure overwhelming her romantic longing.

You would hope there would be more opportunity, other options besides a propitious marriage, but these were different times indeed with fewer outlets for spry prosperity.

Her nerve implodes forlorn and lost she breaks off her clandestine betrothal. 

Her lover notably distraught.

And in possession of secret letters.

David Lean's Madeleine interrogates scandal as a matter of propriety, etched deep with the upper echelons indelicately diagnosing disquiet.

Odd to consider that one so well off would be so strictly bound, not with the desire to promote debauchery, but rather without independent means at her disposal.

It's a shame that tabloid fascination reconstitutes festive fetters, the skeptical gaze of the cynical eye necessitating stealth and cumbersome zeal. 

Madeleine does have deceptive means to be elaborately employed, yet her exceptional liberating scheming fails to pass without further comment.

What risk to take the one which leads to less disputatious uproar, or perhaps to nothing at all, perhaps void of thrill or consequence?

Certainly not a romantic take on lauded cherished flush true love, nevertheless unique in its remonstrations in its unorthodox blinding outrage.

Understanding is of critical import from disconsolate passionate perspectives, commiserating comprehensions deconstructed invariability. 

The inviolable traditionalist may regard Madeleine with horror, as endearing sought after outcomes languish in bitter virulence.

But the novelty remains somewhat comic from alternative dispositions.

By no means grand or exemplary. 

But still encouraging greater freedom.  

Amistad

The 19th century.

A group of slaves being transported at sea courageously revolts and takes control of the vessel.

Unfamiliar with nautical logistics, they rely on two former captors to sycophantically steer, but weeks later provisions grow slim, and they're forced to gather fresh supplies on land.

They weren't being led back to Africa as promised, and are soon detected by the American navy, who imprisons them as runaway slaves, thinking their bondage was secured legally.

At the time, Britain has nobly outlawed slavery but Spain still permits human trafficking, the Spanish crown seeking to reobtain what it claims is its property, the Americans confused by conflicting demands.

If the individuals whose freedom has been denied turn out to have been born in a Spanish country, they then belong to the Spanish crown, or the scoundrels who acquired them on its behalf, and, unfortunately, there's little the abolitionists can do.

But since they were illegally obtained in Africa their rights to freedom have been scurrilously denied.

But their lawyer needs to prove they came from Africa.

And he can't speak their language.

It takes quite some time in fact before they find someone who can, and even with the reliable African testimony, the Africans still have to prove their innocence three times.

Amistad covers a lot of ground as it champions liberty and freedom, intertwining multiple diverse threads as it weaves a compelling plot.

The independence of the American courts is analyzed through political intrigue, since the freedom of the wrongfully enslaved Africans will enrage the American South.

President Van Buren (Nigel Hawthorne) is worried about losing the next election, but also about starting a civil war, so he interferes behind the scenes, although he thankfully can't guarantee specific outcomes.

The abolitionists approach Christianity with open-minded considerate impacts, religion at times an instrument of persecution, here it pursues social justice.

Amistad is at its best as lawyer Roger Sherman Baldwin (Matthew McConaughey) gets to know his clients, notably the feisty Cinque (Djimon Hounsou), who led the sublime revolt in question.

As they slowly learn to communicate a world of enriching ideas opens up, Baldwin interested in learning about African customs, Cinque generally frustrated by appellate courts.

Kindness and understanding guide Amistad's resiliency, as it concentrates on compassionate endeavours, interwoven into a practical dynamic.

Its graphic depiction of slavery's innate horrors encourage impassioned just pursuits.

Difficult to imagine anyone could have ever treated people that way.

Amistad successfully assails such injustice.

*Billions of animals still suffer from much worse circumstances around the world. The abuse inflicted is horrifying. I'm glad so many people are trying to change things.