An out-of-work atheistic professional journalist teams up with a devout confident assertive mother to write his first human interest story in Stephen Frears's Philomena.
The two work well together.
I wouldn't be able not to say that (lol) because Steve Coogan and Jeff Pope's script has created two wonderful characters, one with elite qualifications, the other comfortable within the kitschy continuum, the kitschy elite and elitist kitsch notwithstanding, both successes in their respective domains insofar as they've groomed themselves well over the years, brought them together to conduct investigative research, and given them both enough humanity to be able to work as an effective team, both partners listening to one another and making related adjustments throughout which demonstrate facets of humble active listening, snide though it may occasionally be, their power relations not being strictly governed by a master/slave dichotomy, but rather a constructive allied argumentative breach, which playfully and dismissively gives and takes on both sides.
Martin Sixsmith's (Steve Coogan) intellectual capacities are higher than Philomena's (Judi Dench) and he has trouble refraining from expressing this fact, especially before 9 am (why do you have to pretend to be in a good mood before 11 am?), which is to be expected, but they're also high enough to recognize their own particular shortcomings, their exclusive ornate prejudices, which helps Martin learn to accept Philomena's difference, her loves, her passions.
Philomena doesn't shy away from defending her values and even though she's likely never studied advanced rhetoric nor frequently schmoozed in realms where it's condescendingly applied, she holds her own when Sixsmith criticizes her beliefs, breaking through his sound observations (with which I tend to agree) with cold hard forgiving faith.
How she could continue to believe after what certain religious authorities put her through is beyond me but she does and justifies her position coherently enough.
The metaphorical extract (the breach) distilled from their colourful exchanges is a fluid effervescent bourgeoisie, competent mediator of the clashes, comprehensive, cogent, chill.
First time I've briefly forgotten it was Judi Dench acting for awhile, her divergent performance creatively testifying to her dynamic multidimensional strengths.
Not that I've seen most of the films she's been in.
Thursday, December 5, 2013
Tuesday, December 3, 2013
Nebraska
Stark patient self-sacrificing unconditional love idealizes David Grant's (Will Forte) compassion in Alexander Payne's laid-back Nebraska.
A road trip.
Family bonding.
Grievances aired.
Irrationality, coddled.
The film contrasts sympathetic understanding with grotesque blatant greed to generate a gentle hardboiled eccentric microbrew whose earthy hops boisterously blend with its down-home sense of whispered wonder.
Drenched reprieved latent reactive emotion.
It takes a good look at honesty as several close family members state that Woody Grant's (Bruce Dern) misguided claims lack sanity, yet due to their enriched aggrandizing interests they're treated as cold hard facts regardless nonetheless.
These interrelations produce a series of depressingly comic wisps.
The aesthetic modestly criticizes while humbly elevating aspects of rural life and formulates a fecund quaint sterility which gymnastically disables pretentious categorical judgments.
The film seems laid-back and calm even while characters express themselves aggressively but you don't achieve this kind of distinct reflective vacant simplicity without meticulously focusing upon its underlying romance.
Great ending.
Great film.
A road trip.
Family bonding.
Grievances aired.
Irrationality, coddled.
The film contrasts sympathetic understanding with grotesque blatant greed to generate a gentle hardboiled eccentric microbrew whose earthy hops boisterously blend with its down-home sense of whispered wonder.
Drenched reprieved latent reactive emotion.
It takes a good look at honesty as several close family members state that Woody Grant's (Bruce Dern) misguided claims lack sanity, yet due to their enriched aggrandizing interests they're treated as cold hard facts regardless nonetheless.
These interrelations produce a series of depressingly comic wisps.
The aesthetic modestly criticizes while humbly elevating aspects of rural life and formulates a fecund quaint sterility which gymnastically disables pretentious categorical judgments.
The film seems laid-back and calm even while characters express themselves aggressively but you don't achieve this kind of distinct reflective vacant simplicity without meticulously focusing upon its underlying romance.
Great ending.
Great film.
Saturday, November 30, 2013
Delivery Man
If you loved Ken Scott's Starbuck, you may not appreciate his Delivery Man as much (the contents of the films are too similar), although Vince Vaughn (David) reimagines the character well enough, in classic screwing-up while excelling Vince Vaughn fashion, putting in another great performance, confident personality generally unconcerned with consequences, überfatherhood thrust upon him, a life changing salacious shock, a languid lecherous illustrious lighthouse.
(Still prefer Patrick Huard's performance).
Not going to read what I wrote about Starbuck until finishing this review, for curiosity's sake (I did duplicate the tags however since the film's are so similar).
The narrative is a treasure for those adhering to discourses of hereditary multiplicities, even if it's fictional, since David's offspring possess sundry talents and seemingly limitless flexibilities, when considered as a whole.
I'm assuming there's a group who adheres to discourses of hereditary multiplicities.
I mean, what would happen if you had 534 children with 534 different women and then set them loose on the streets of New York or Montréal?
They aren't all going to end up in the same profession.
They aren't all going to look the same.
They will likely react to various stimuli differently.
Some of them, may even listen to, Tigermilk followed If You're Feeling Sinister followed by The Boy with the Arab Strap then Aladdin Sane after their favourite CFL team loses the Grey Cup.
534.
It could happen.
It's tough for me to write that critically about Delivery Man because, as I mentioned earlier, the film's too similar to Starbuck, which is why I didn't want to see it in theatres but I woke up too late that day to see Heli at EXCƎNTRIS.
It was a late night.
Great translation.
Just too familiar with the story so my reactions were always mitigated by encumbering memories which prevented me from being surprised by the sequences.
Surprise is important.
Good surprises.
Screw-off sadists.
Marshmallows.
(Still prefer Patrick Huard's performance).
Not going to read what I wrote about Starbuck until finishing this review, for curiosity's sake (I did duplicate the tags however since the film's are so similar).
The narrative is a treasure for those adhering to discourses of hereditary multiplicities, even if it's fictional, since David's offspring possess sundry talents and seemingly limitless flexibilities, when considered as a whole.
I'm assuming there's a group who adheres to discourses of hereditary multiplicities.
I mean, what would happen if you had 534 children with 534 different women and then set them loose on the streets of New York or Montréal?
They aren't all going to end up in the same profession.
They aren't all going to look the same.
They will likely react to various stimuli differently.
Some of them, may even listen to, Tigermilk followed If You're Feeling Sinister followed by The Boy with the Arab Strap then Aladdin Sane after their favourite CFL team loses the Grey Cup.
534.
It could happen.
It's tough for me to write that critically about Delivery Man because, as I mentioned earlier, the film's too similar to Starbuck, which is why I didn't want to see it in theatres but I woke up too late that day to see Heli at EXCƎNTRIS.
It was a late night.
Great translation.
Just too familiar with the story so my reactions were always mitigated by encumbering memories which prevented me from being surprised by the sequences.
Surprise is important.
Good surprises.
Screw-off sadists.
Marshmallows.
Thursday, November 28, 2013
The Book Thief
A struggling family adopts a young girl (Sophie Nélisse as Liesel) in pre-World War II Germany as the fascists's political agenda rapidly spreads throughout the country.
Ideological indoctrination confuses intelligent youth who can't understand its narrow-minded discipline.
The focus is on the good Germans, the ones who were simply trying to make ends meet during difficult economic times and were forced to come up with survival strategies ad hoc as repugnant discourses gained social traction, followed by war.
The Book Thief unreels from a child's point of view and the film is primarily geared towards children.
I'm used to finding more depth in children's films, meaning that they're sometimes more engaging for adults, but that's not necessarily a criticism, insofar as the kids in the audience were likely fully engaged, and it was made for children.
Still, it accentuates the senses of fear and helplessness conscientious citizens feel when trying to express themselves within oppressive environments dominated by violence, but in an oddly inconspicuous way that leaves the impression that nothing could possibly go seriously wrong, even while war breaks out and the hunted desperately seek shelter.
This explains Death's (Roger Allam) avuncular yet cumbersome narration.
The importance of reading is at the forefront, an individual's desire to expand her mind contrasted with what happens when highly aggressive fanatical groups who never had any desire to expand theirs suddenly control the military.
Nazi Germany was responsible for destroying Europe in the first half of the 20th century, but, according to practically every article I read about the European Union, they're currently saving Europe from total financial disaster, playing a much stronger role than either France or Britain, no doubt due to the strength of the good Germans depicted in The Book Thief, their environmental concerns, and resolute calm.
Viewing The Book Thief in this way helps to detach unconscious direct correlations between Germany and Nazism, which, after you've seen around 100 World War II films and read many books on the subject, is an unconscious direct correlation that's tough not to make (like Mexico and drug cartels [more {some?} American films with Mexican characters who aren't labourers or members of a drug cartel would be nice]).
These correlations can then be replaced by less volatile caricatures, as Germany's contemporary status suggests it deserves.
Thus, when you think of Germany, try not to immediately think, Nazis, a period of their history that more or less ended in 1945, but think, getting rid of nuclear power, focusing on green technologies, economy remains strong even after the integration of East Germany, saving the European Union, fiscal responsibility, which are aspects of what's happening now.
Not so easy to do, I know.
But I've done it. So I know that it is possible.
Ideological indoctrination confuses intelligent youth who can't understand its narrow-minded discipline.
The focus is on the good Germans, the ones who were simply trying to make ends meet during difficult economic times and were forced to come up with survival strategies ad hoc as repugnant discourses gained social traction, followed by war.
The Book Thief unreels from a child's point of view and the film is primarily geared towards children.
I'm used to finding more depth in children's films, meaning that they're sometimes more engaging for adults, but that's not necessarily a criticism, insofar as the kids in the audience were likely fully engaged, and it was made for children.
Still, it accentuates the senses of fear and helplessness conscientious citizens feel when trying to express themselves within oppressive environments dominated by violence, but in an oddly inconspicuous way that leaves the impression that nothing could possibly go seriously wrong, even while war breaks out and the hunted desperately seek shelter.
This explains Death's (Roger Allam) avuncular yet cumbersome narration.
The importance of reading is at the forefront, an individual's desire to expand her mind contrasted with what happens when highly aggressive fanatical groups who never had any desire to expand theirs suddenly control the military.
Nazi Germany was responsible for destroying Europe in the first half of the 20th century, but, according to practically every article I read about the European Union, they're currently saving Europe from total financial disaster, playing a much stronger role than either France or Britain, no doubt due to the strength of the good Germans depicted in The Book Thief, their environmental concerns, and resolute calm.
Viewing The Book Thief in this way helps to detach unconscious direct correlations between Germany and Nazism, which, after you've seen around 100 World War II films and read many books on the subject, is an unconscious direct correlation that's tough not to make (like Mexico and drug cartels [more {some?} American films with Mexican characters who aren't labourers or members of a drug cartel would be nice]).
These correlations can then be replaced by less volatile caricatures, as Germany's contemporary status suggests it deserves.
Thus, when you think of Germany, try not to immediately think, Nazis, a period of their history that more or less ended in 1945, but think, getting rid of nuclear power, focusing on green technologies, economy remains strong even after the integration of East Germany, saving the European Union, fiscal responsibility, which are aspects of what's happening now.
Not so easy to do, I know.
But I've done it. So I know that it is possible.
Tuesday, November 26, 2013
Kill Your Darlings
John Krokidas's Kill Your Darlings enlivens the fortuitous meeting of a group of experimental writers including Allen Ginsberg (Daniel Radcliffe), Jack Kerouac (Jack Huston), and William S. Burroughs (Ben Foster) in New York City during their youth.
Not sure how much of the film is based on rhythmic verge (the facts).
That doesn't really matter.
It offers generalized insights into their introductory methods and innocently stylizes a literary ethos of sorts.
It focuses primarily on Ginsberg's infatuation with fellow student Lucien Carr (Dane DeHaan), whose being pursued by an obsessed thinker (Michael C. Hall as David Kammerer) who simply can't detach and withdraw.
Ginsberg grows and changes over time, Burroughs and Kerouac do not.
Kerouac's stasis is quite lively.
The film itself is sort of like a lively stasis, like a successful Not Fade Away.
The main problem's formal.
While wild moments and coming of age initiations are present, it's still easy enough to follow, like a crazy countercultural clutch, a warm and fuzzy bourgeois blanket.
More like the classes Ginsberg stops attending than something by Godard or Cassavetes.
Had high expectations. Loved reading most of these authors in my early twenties. Thought the filmmakers would have taken a more poetic approach.
Radcliffe excels as Ginsberg, reminding me at times of a younger Joaquin Phoenix, moving beyond the Harry Potter persona, establishing greater depth and personality.
That's good.
Not sure how much of the film is based on rhythmic verge (the facts).
That doesn't really matter.
It offers generalized insights into their introductory methods and innocently stylizes a literary ethos of sorts.
It focuses primarily on Ginsberg's infatuation with fellow student Lucien Carr (Dane DeHaan), whose being pursued by an obsessed thinker (Michael C. Hall as David Kammerer) who simply can't detach and withdraw.
Ginsberg grows and changes over time, Burroughs and Kerouac do not.
Kerouac's stasis is quite lively.
The film itself is sort of like a lively stasis, like a successful Not Fade Away.
The main problem's formal.
While wild moments and coming of age initiations are present, it's still easy enough to follow, like a crazy countercultural clutch, a warm and fuzzy bourgeois blanket.
More like the classes Ginsberg stops attending than something by Godard or Cassavetes.
Had high expectations. Loved reading most of these authors in my early twenties. Thought the filmmakers would have taken a more poetic approach.
Radcliffe excels as Ginsberg, reminding me at times of a younger Joaquin Phoenix, moving beyond the Harry Potter persona, establishing greater depth and personality.
That's good.
Saturday, November 23, 2013
The Hunger Games: Catching Fire
Having won the previous year's Hunger Games, Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) return to District 12 to attempt to resume their normal lives.
Trauma terrifyingly affects them both as haunting memories short-circuit various pastimes.
President Snow's (Donald Sutherland) fascist ideology continues to crush workers throughout the Districts but Katniss and Peeta have given them something to believe in.
That belief steadily intensifies throughout the progress of a mandatory nationwide tour during which they must demonstrate their loyalty.
But fascist kings stack fascist decks, not really even a deck, and an unforeseen revised savage sewer augustly swells, threatening to tether the people's momentum, to a coerced, despotic, desolate, plain.
Upon which obedience is the only option.
There's a lot happening in The Hunger Games: Catching Fire.
Katniss and Peeta's aforementioned trauma adds depth to Haymitch's (Woody Harrelson) character, justifying his excessive drinking.
Rob Ford is not Haymitch. Rob Ford is being legitimately criticized for drinking and driving and smoking crack cocaine. These are things responsible Mayors don't do. These are things responsible people don't do regardless of occupation.
You almost feel bad for Effie Trinket (Elizabeth Banks) as she makes the best of an abysmal situation by seeming to genuinely care about teamwork.
As one of the participants dies during the Hunger Games's Quarter Quell, the sun rises, thereby symbolizing that there is only freedom in death when living under extreme forms of government.
Protests at the highest level do nothing to dissuade Snow's executive, similar mechanisms existing in Canada before Baldwin and Lafontaine introduced Responsible Government.
Katniss's formidable resolve resplendently radiates as if her just constitution was forged by Barton Street Steel.
A crucial moment during which the expediencies of her predicament neurotically test her herculean will exemplifies this in/dependence (beautifully dependent on championing the rights of the helpless).
Trust becomes a critical factor.
The parts which necessitate action don't focus on the violence but rather the obstructions of the civilized combatants.
The film depicts what it could be like to live somewhere where 1% of the population hold 99% of the wealth and there isn't a democratic system in place guaranteeing fundamental freedoms.
Where one size fits all.
Should probably read the books too.
Trauma terrifyingly affects them both as haunting memories short-circuit various pastimes.
President Snow's (Donald Sutherland) fascist ideology continues to crush workers throughout the Districts but Katniss and Peeta have given them something to believe in.
That belief steadily intensifies throughout the progress of a mandatory nationwide tour during which they must demonstrate their loyalty.
But fascist kings stack fascist decks, not really even a deck, and an unforeseen revised savage sewer augustly swells, threatening to tether the people's momentum, to a coerced, despotic, desolate, plain.
Upon which obedience is the only option.
There's a lot happening in The Hunger Games: Catching Fire.
Katniss and Peeta's aforementioned trauma adds depth to Haymitch's (Woody Harrelson) character, justifying his excessive drinking.
Rob Ford is not Haymitch. Rob Ford is being legitimately criticized for drinking and driving and smoking crack cocaine. These are things responsible Mayors don't do. These are things responsible people don't do regardless of occupation.
You almost feel bad for Effie Trinket (Elizabeth Banks) as she makes the best of an abysmal situation by seeming to genuinely care about teamwork.
As one of the participants dies during the Hunger Games's Quarter Quell, the sun rises, thereby symbolizing that there is only freedom in death when living under extreme forms of government.
Protests at the highest level do nothing to dissuade Snow's executive, similar mechanisms existing in Canada before Baldwin and Lafontaine introduced Responsible Government.
Katniss's formidable resolve resplendently radiates as if her just constitution was forged by Barton Street Steel.
A crucial moment during which the expediencies of her predicament neurotically test her herculean will exemplifies this in/dependence (beautifully dependent on championing the rights of the helpless).
Trust becomes a critical factor.
The parts which necessitate action don't focus on the violence but rather the obstructions of the civilized combatants.
The film depicts what it could be like to live somewhere where 1% of the population hold 99% of the wealth and there isn't a democratic system in place guaranteeing fundamental freedoms.
Where one size fits all.
Should probably read the books too.
Tuesday, November 19, 2013
Carrie
A shy young sheltered girl is tormented and humiliated by her insensitive classmates due to her unfortunate unawareness of nature's biologics.
But these very same biologics possess specific hereditary gifts that to the uninitiated appear legitimately demonic.
Prom quickly approaches and commendable do-gooders attempt to ease the heightened tension.
Their efforts fail to pacify a spoiled jealous spiteful thug, however, whose mad cruel retributive act, ignominiously ensures that all goodness is in jeopardy.
Reason cannot be maintained.
Liked the new Carrie.
Suppose a lot of people already know what happens in Carrie.
Nevertheless, a resilient inclusive dimension can be found within, the snobs still abrasively __cking around as they so often do, the immediate transformation of pure bliss into incarnate rage blindly affecting all, the shock hemorrhaging Carrie's (Chloë Grace Moretz) ethical splice, thereby further encouraging understanding inclusivity.
It's a shame Carrie rampages, for, thanks to the resources available in her high school library, she was just beginning to learn how to develop a strong sense of self, conscious of the ways in which her own individuality fit within larger social cohesivities, book after book after book potentially strengthening both her resultant inchoate confidence and sense of belonging.
But she does rampage and if she didn't the narrative's impact would have perhaps been less catchy.
Couldn't work a debate into the end of this one I guess.
Or Professor X?
Imagine Professor X had shown up?
Unprovoked conflict abounds.
Thursday, November 14, 2013
Thor: The Dark World
The new Thor film, Thor: The Dark World, takes too many liberties in its preparations for battle.
Its clumsy approach to the construction of its foundations begets a gurgling perfunctory stale flaccid belch.
Thor's (Chris Hemsworth) restoring order to the 9 Realms, not choosing between cotton candy and caramel corn.
But this is a film, not a skyscraper, and after the, sigh, Dark Elves, invade Asgard, it picks up steam and successfully delivers an action-packed dialectic twisting shifting scorn, eccentric citizens of Earth scientifically counterbalancing the religiosity, with glasses, humour metrically romanticizing the miscues, the hammer, pounding and pulverizing away.
Go __ck yourself Loki.
Still, the Convergence could have been more lavish.
As it stands, it's an alright Convergence, but if it only happens once every 9,000 years or so, perhaps Thor: The Dark World could have spent an extra 10 to 15 minutes exploring its quasiphantasmagorical interrelations, multiple entities from manifold worlds gravitating towards these shocks, intertwining piquant interplanetary processions, coordinated cataclysmic chaos, tantalized and transitioned through Thor.
I usually don't recommend that things be more lavish, but in Thor: The Dark World's case, they may have had some extra money to spend.
In a situation like this you don't need to set everything up beforehand.
And you can intermingle select forthcoming synergies within.
Its clumsy approach to the construction of its foundations begets a gurgling perfunctory stale flaccid belch.
Thor's (Chris Hemsworth) restoring order to the 9 Realms, not choosing between cotton candy and caramel corn.
But this is a film, not a skyscraper, and after the, sigh, Dark Elves, invade Asgard, it picks up steam and successfully delivers an action-packed dialectic twisting shifting scorn, eccentric citizens of Earth scientifically counterbalancing the religiosity, with glasses, humour metrically romanticizing the miscues, the hammer, pounding and pulverizing away.
Go __ck yourself Loki.
Still, the Convergence could have been more lavish.
As it stands, it's an alright Convergence, but if it only happens once every 9,000 years or so, perhaps Thor: The Dark World could have spent an extra 10 to 15 minutes exploring its quasiphantasmagorical interrelations, multiple entities from manifold worlds gravitating towards these shocks, intertwining piquant interplanetary processions, coordinated cataclysmic chaos, tantalized and transitioned through Thor.
I usually don't recommend that things be more lavish, but in Thor: The Dark World's case, they may have had some extra money to spend.
In a situation like this you don't need to set everything up beforehand.
And you can intermingle select forthcoming synergies within.
Tuesday, November 12, 2013
All the Wrong Reasons
Solid beginnings for All the Wrong Reasons.
Chummy quotidian banter, an elastic sense of low-budget self-aware elusion, characters who seem relatable but have enough cinematic distance built-in to problematize their realistic preoccupations, polish, tragedy, helplessness, grit.
Facial expressions provoke chuckles.
Background details add flavour.
Surveyed departmental legacies.
Evacuated evasive everyday elevations.
It doesn't hold together well as things become more serious however.
It's not that I didn't like the development of Kate (Karine Vanasse) and Simon's (Kevin Zegers) affections.
They're strong characters and their interactions curve and merge.
But as the intensity of the wry melodrama increases, and morality becomes a potent factor, the comedy disintegrates, and austerity commands.
I liked some of the scenes and the resolutions, but the general air of upright tension in the second half suffered from a lack of contrapuntal displacement.
Unsuccessful juxtaposition.
Solid beginnings though, solid beginnings.
Chummy quotidian banter, an elastic sense of low-budget self-aware elusion, characters who seem relatable but have enough cinematic distance built-in to problematize their realistic preoccupations, polish, tragedy, helplessness, grit.
Facial expressions provoke chuckles.
Background details add flavour.
Surveyed departmental legacies.
Evacuated evasive everyday elevations.
It doesn't hold together well as things become more serious however.
It's not that I didn't like the development of Kate (Karine Vanasse) and Simon's (Kevin Zegers) affections.
They're strong characters and their interactions curve and merge.
But as the intensity of the wry melodrama increases, and morality becomes a potent factor, the comedy disintegrates, and austerity commands.
I liked some of the scenes and the resolutions, but the general air of upright tension in the second half suffered from a lack of contrapuntal displacement.
Unsuccessful juxtaposition.
Solid beginnings though, solid beginnings.
Thursday, November 7, 2013
Jungle Sands
Random crisp torched sundry phrase
within which beings brightly craze
its vines and spherical hecates
secrete a resin's bifurcate
through courtships cries credulities
fidel forecasts flippant seeds
its refined delicate forays
illuminate a guilded haze.
On the outskirts.
within which beings brightly craze
its vines and spherical hecates
secrete a resin's bifurcate
through courtships cries credulities
fidel forecasts flippant seeds
its refined delicate forays
illuminate a guilded haze.
On the outskirts.
Dallas Buyers Club
When confronted with the gripping prospect of death, Dallas Buyers Club's Ron Woodroof (Matthew McConaughey) cursively refuses to back down.
Economically finding a way to prolong his counterintuitive friction, he proactively rides the bull, adjusting prejudicial preferences in the meantime, gesticulating, matriculating, stanced.
This ___ker knows how to rock a library.
He does his research, finds alternatives, makes hard decisions, goes into business, and proceeds to assist those who had been condescendingly written off.
The butterfly scene boils it down.
The film's straightforward yet punctual and provocative, brazenly tackling hard-hitting browbeaten issues of gender and sex, not to mention the pretensions of the American medical establishment, friendships and partnerships metamorphically blossoming, underground economies, financing the bloom.
Once again we find economic justifications for a more inclusive sociocultural dynamic, more customers, more profits, sustainable social programs, this time in the heart of Texas.
One of the most unlikeliest humanitarian activists I've seen.
His interests are initially individualistic, but he reaches higher ground throughout his transformation.
Possible oscar nomination for McConaughey?
Economically finding a way to prolong his counterintuitive friction, he proactively rides the bull, adjusting prejudicial preferences in the meantime, gesticulating, matriculating, stanced.
This ___ker knows how to rock a library.
He does his research, finds alternatives, makes hard decisions, goes into business, and proceeds to assist those who had been condescendingly written off.
The butterfly scene boils it down.
The film's straightforward yet punctual and provocative, brazenly tackling hard-hitting browbeaten issues of gender and sex, not to mention the pretensions of the American medical establishment, friendships and partnerships metamorphically blossoming, underground economies, financing the bloom.
Once again we find economic justifications for a more inclusive sociocultural dynamic, more customers, more profits, sustainable social programs, this time in the heart of Texas.
One of the most unlikeliest humanitarian activists I've seen.
His interests are initially individualistic, but he reaches higher ground throughout his transformation.
Possible oscar nomination for McConaughey?
Saturday, November 2, 2013
Twin Seabed
Labyrinthine steaming cymballines
inverted entailed crusts,
exchanged clasped celebritease
nutritive ventrile thrusts.
Throbbing crooned communities
ecostalactites,
an elegance fondly retrieved
through oceanic heights.
inverted entailed crusts,
exchanged clasped celebritease
nutritive ventrile thrusts.
Throbbing crooned communities
ecostalactites,
an elegance fondly retrieved
through oceanic heights.
El Cuerpo
Stubborn protrusive reason flaunts a cryptic allegiance with supernatural impulses as Oriol Paulo's La Cuerpo seeks to retrieve an embattled corpse, evidently contravening its diagnosed paramortal slumber.
A corpse has disappeared.
It is sought after.
The search excavates murder.
A question of feeling, evoking, fury.
At the risk of sounding disingenuous, a clue is provided where it is least expected.
The flashback motif, used extensively, at one point proves exhausting, but it is within this kitschy exhaust that an emaciated ember balefully stows, teasing, fleecing, tormenting, breaking down dismissive pretensions in full-fledged fleeting embalmed mockery.
Endearing ending.
Slowly evolving to become something greater than the sum of its parts, La Cuerpo revels in its formal debauchery, to triumphantly emerge a ravenous satiation.
Burned.
Totally burned.
The reason.
A corpse has disappeared.
It is sought after.
The search excavates murder.
A question of feeling, evoking, fury.
At the risk of sounding disingenuous, a clue is provided where it is least expected.
The flashback motif, used extensively, at one point proves exhausting, but it is within this kitschy exhaust that an emaciated ember balefully stows, teasing, fleecing, tormenting, breaking down dismissive pretensions in full-fledged fleeting embalmed mockery.
Endearing ending.
Slowly evolving to become something greater than the sum of its parts, La Cuerpo revels in its formal debauchery, to triumphantly emerge a ravenous satiation.
Burned.
Totally burned.
The reason.
Thursday, October 31, 2013
The Fifth Estate
The Fifth Estate's cold calculated construct of Julian Assange (Benedict Cumberbatch) maintains that he's a driven well-meaning intense prick whose inability to bend resolutely cost him dearly.
Guilty of high-tech intractability.
The portrait's possibly unfair.
It was a simple matter of redacting articles posted on WikiLeaks so that the names of covert individuals mentioned within them would not appear and the individuals themselves would likely not be violently punished (murdered) afterwards.
Not such a simple matter for Assange, according to The Fifth Estate, however.
He was determined to publish leaked articles in full on principle to demonstrate that he wasn't doing anything to hedge the truth.
I respect this on principle, but when people's lives are at stake I do have to agree with The Fifth Estate's condemnation of the practise, Assange being unable to recast his image as his freedom fighting persona gained international traction.
The problem in the film is this.
Assange rightfully despises tyranny.
It's what he fights against.
Tyrants tend to kill people.
In The Fifth Estate, as WikiLeaks's reach exponentially extends, it becomes clear that Assange is a general of sorts, more of a supreme commander, and that by releasing unredacted documents, he has the power to sacrifice troops for what he considers to be the greater good, but he still sacrifices troops nonetheless, somewhat carelessly, I might add.
So on principle, he makes decisions that could have cost people their lives, people who may have been fighting for the same things using different methods, when he really didn't have to, he could have redacted the documents without ruining them, which causes him to become tyrannical himself, an unfortunate development for such an heroic person.
What I loved about The Fifth Estate was its examination of history, contemporary history, how many of its characters are aware of the monumental changes the internet has brought about, like Gutenberg's printing press on hyperactive culturally enlivening intergalactic booster juice, The Guardian's Nick Davies (David Thewlis) offering some notable insights, moving the film away from the severely intensifying interactions between Assange and Daniel Berg (Daniel Brühl).
Looking forward to reading/viewing what other biographers have to say about Assange over the upcoming decades.
Compelling person.
Brilliant colossus.
Guilty of high-tech intractability.
The portrait's possibly unfair.
It was a simple matter of redacting articles posted on WikiLeaks so that the names of covert individuals mentioned within them would not appear and the individuals themselves would likely not be violently punished (murdered) afterwards.
Not such a simple matter for Assange, according to The Fifth Estate, however.
He was determined to publish leaked articles in full on principle to demonstrate that he wasn't doing anything to hedge the truth.
I respect this on principle, but when people's lives are at stake I do have to agree with The Fifth Estate's condemnation of the practise, Assange being unable to recast his image as his freedom fighting persona gained international traction.
The problem in the film is this.
Assange rightfully despises tyranny.
It's what he fights against.
Tyrants tend to kill people.
In The Fifth Estate, as WikiLeaks's reach exponentially extends, it becomes clear that Assange is a general of sorts, more of a supreme commander, and that by releasing unredacted documents, he has the power to sacrifice troops for what he considers to be the greater good, but he still sacrifices troops nonetheless, somewhat carelessly, I might add.
So on principle, he makes decisions that could have cost people their lives, people who may have been fighting for the same things using different methods, when he really didn't have to, he could have redacted the documents without ruining them, which causes him to become tyrannical himself, an unfortunate development for such an heroic person.
What I loved about The Fifth Estate was its examination of history, contemporary history, how many of its characters are aware of the monumental changes the internet has brought about, like Gutenberg's printing press on hyperactive culturally enlivening intergalactic booster juice, The Guardian's Nick Davies (David Thewlis) offering some notable insights, moving the film away from the severely intensifying interactions between Assange and Daniel Berg (Daniel Brühl).
Looking forward to reading/viewing what other biographers have to say about Assange over the upcoming decades.
Compelling person.
Brilliant colossus.
Complicit Environs
Rawhided planetoid riffs
scorched tendryllic incense
scooped fletched adrift
focal crafting coral
scorched tendryllic incense
scooped fletched adrift
focal crafting coral
Sunday, October 27, 2013
L'autre maison
Serene lakeside pastoral tranquility's cumulative regenerative assertive grace tantalizingly taunts a troubled convalescing alcoholic in Mathieu Roy's L'autre maison, a man struggling to overcome his sundry jealousies and youthful longings, his inability to refrain from hostilely instigating comparative packs compounding his skittish alarm, a lost unattainable sense of consistent security haunting his unconscious, alcohol no longer an option, but peace, present, partout.
Flying off the handle quickly, abrasively, and confidently, Eric's (Émile Proulx-Cloutier) destructive instincts reflect the stormy endearing tract of the frightened everyperson, his counterproductive soul-searching trail blazed by Proulx-Cloutier's strong performance.
The film periodically focuses on his distracted bemusements, intermixing and contrasting his viewpoints with more successful and less coherent supportive family members.
Its calm enduring inquisitive patience forges a tight urban/rural familial dialectic whose curative emphasis boundlessly allures.
The late night swim is an important moment.
Ah, dinner is served.
Love permeates.
With raccoons.
Flying off the handle quickly, abrasively, and confidently, Eric's (Émile Proulx-Cloutier) destructive instincts reflect the stormy endearing tract of the frightened everyperson, his counterproductive soul-searching trail blazed by Proulx-Cloutier's strong performance.
The film periodically focuses on his distracted bemusements, intermixing and contrasting his viewpoints with more successful and less coherent supportive family members.
Its calm enduring inquisitive patience forges a tight urban/rural familial dialectic whose curative emphasis boundlessly allures.
The late night swim is an important moment.
Ah, dinner is served.
Love permeates.
With raccoons.
Tuesday, October 22, 2013
Amsterdam
Three close friends, living in a small town, married and settled, habitual and unsuspecting, routine linear sturdy timber, off for an expected excursion, wives, nothing to be worried about.
But a salacious drug and alcohol fuelled binge replaces their traditional fishing trip, in none other than fabled Amsterdam, during which an adulterous peculiarity comes to light, ushering in a new set of incongruous relational vertices, discordant complexities, whose devastated heartbroken pinpricked clutches, deceptively destabilize a longstanding foundation of trust.
It's a morality tale.
A classic case of conjugal infidelity crushing one's sense of purpose and well-being.
The crush is perhaps too limiting as its despondent affects prevent Sam (Robin Aubert) from taking part in most of the film, exploratory analysis sacrificed for betrayed obsession, Amsterdam examining the detonation of reason, as thoughts of forgiveness abandon.
His friends are left trying to explain his absence after he chooses to remain in Europe, their cover-up exacerbating the situation, lies, trauma, incompatibility.
They didn't hire Columbo to investigate this one.
Old school yet relevant, Amsterdam substantializes conceptions of loyalty and friendship, refusing to disqualify their guilt, hardboiled chaotic remorse.
But it really boils down to childishness.
Whose the more childish, Sam or Jeff (Gabriel Sabourin)?
From right to left?
But a salacious drug and alcohol fuelled binge replaces their traditional fishing trip, in none other than fabled Amsterdam, during which an adulterous peculiarity comes to light, ushering in a new set of incongruous relational vertices, discordant complexities, whose devastated heartbroken pinpricked clutches, deceptively destabilize a longstanding foundation of trust.
It's a morality tale.
A classic case of conjugal infidelity crushing one's sense of purpose and well-being.
The crush is perhaps too limiting as its despondent affects prevent Sam (Robin Aubert) from taking part in most of the film, exploratory analysis sacrificed for betrayed obsession, Amsterdam examining the detonation of reason, as thoughts of forgiveness abandon.
His friends are left trying to explain his absence after he chooses to remain in Europe, their cover-up exacerbating the situation, lies, trauma, incompatibility.
They didn't hire Columbo to investigate this one.
Old school yet relevant, Amsterdam substantializes conceptions of loyalty and friendship, refusing to disqualify their guilt, hardboiled chaotic remorse.
But it really boils down to childishness.
Whose the more childish, Sam or Jeff (Gabriel Sabourin)?
From right to left?
Saturday, October 19, 2013
Machete Kills
Impressed by Machete Kills.
So many great lines in this film.
It's like Kyle Ward and Robert and Marcel Rodriguez really took the extra time and care a quality ridiculously sensational over-the-top film needs to be convincingly down-to-earth yet mesmerizing and decaptivating.
It sets a high standard for other filmmakers working along similar lines, and, much like Planet Terror, gives them something to aspire to.
Luz (Michelle Rodriguez) has her other eye shot out and then gets up to fight blind?
Fully loaded machine gun breasts?
The heart that refuses to cease beating?
It's the President on the phone?
El Cameleón?
No need for rhetorical explanations.
It's rare that a film so confidently and quickly moves from the improbable to the ludicrous to the exceptional, so sure of itself, so Machete (Danny Trejo).
Oddly, whereas I thought Sherlock Holmes: Game of Shadows faltered by situating Holmes (Robert Downey Jr.) in an international scenario, Machete Kills excels precisely for this reason.
The Last Stand had a similar cast but lacked Machete Kills's sharp-edged artistry.
Pacific Rim had many great lines but I'm afraid it's no Machete Kills.
Let's just throw in Star Wars.
The next one takes place in space.
In space!
Like Star Trek II in terms of outshining its predecessor.
Not that I'm comparing Star Trek: The Motion Picture to Machete.
I'm wondering if Machete can somehow be worked into an Avengers film, either through reference or by making a direct appearance.
The Avengers could use some Machete.
A rugged old-school indestructible hero.
Going to see this film, again.
So many great lines in this film.
It's like Kyle Ward and Robert and Marcel Rodriguez really took the extra time and care a quality ridiculously sensational over-the-top film needs to be convincingly down-to-earth yet mesmerizing and decaptivating.
It sets a high standard for other filmmakers working along similar lines, and, much like Planet Terror, gives them something to aspire to.
Luz (Michelle Rodriguez) has her other eye shot out and then gets up to fight blind?
Fully loaded machine gun breasts?
The heart that refuses to cease beating?
It's the President on the phone?
El Cameleón?
No need for rhetorical explanations.
It's rare that a film so confidently and quickly moves from the improbable to the ludicrous to the exceptional, so sure of itself, so Machete (Danny Trejo).
Oddly, whereas I thought Sherlock Holmes: Game of Shadows faltered by situating Holmes (Robert Downey Jr.) in an international scenario, Machete Kills excels precisely for this reason.
The Last Stand had a similar cast but lacked Machete Kills's sharp-edged artistry.
Pacific Rim had many great lines but I'm afraid it's no Machete Kills.
Let's just throw in Star Wars.
The next one takes place in space.
In space!
Like Star Trek II in terms of outshining its predecessor.
Not that I'm comparing Star Trek: The Motion Picture to Machete.
I'm wondering if Machete can somehow be worked into an Avengers film, either through reference or by making a direct appearance.
The Avengers could use some Machete.
A rugged old-school indestructible hero.
Going to see this film, again.
Wednesday, October 16, 2013
Happy to see that Alice Munro won the Nobel Prize for literature.
I loved Friend of My Youth and Something I've Been Meaning to Tell You and look forward to reading more of her works throughout my life.
For me, writing isn't about race, ethnicity, or gender, it's about the quality of the writing and how it fits with my own aesthetic preferences, which change over time, although I have yet to pick up In Search of Lost Time and not love it (I simply evaluate it differently over time).
Some writers I love, some I don't, that's it.
To ignore a specific writer because of their race, ethnicity, or gender, ignorantly cuts you off from thousands of potentially inspiring voices, thereby limiting your own potential in the process.
We live in remarkably accessible times.
Why not embrace them?
Tuesday, October 15, 2013
Gravity
Trauma's debilitating cloaked severity haunts Gravity's heroine as destructive debris and interstellar circumstances threaten her very survival, necessitating the delivery of split-second correct decision making where the slightest miscue will accelerate her demise.
Her oxygen supply is running low.
George Clooney (Matt Kowalski) doesn't make it.
Perdition rests in the flames.
Of cherished, bygone, days.
The immediacy of her isolated predicament and its associated inanimate malevolence prevents her conscious reflexivity from being able to divert periodic onslaughts of asphyxiating plush, the situation requiring simultaneous internal and external synthesized orchestrations for her reliable future to independently portend.
The film's action reliably and boisterously builds as the bright and beautiful Ryan Stone (Sandra Bullock) approaches its climax.
Couldn't help but think of the ending of the first Alien film, and that Gravity is somewhat of a gem amongst science-fiction considering that it poignantly and thought provokingly stuns throughout, providing a brilliant exemplar of feminine strength, without introducing a bloodthirsty monster.
Science-fiction more concerned with the beauty of life than gruesome death?
That stands out.
Her oxygen supply is running low.
George Clooney (Matt Kowalski) doesn't make it.
Perdition rests in the flames.
Of cherished, bygone, days.
The immediacy of her isolated predicament and its associated inanimate malevolence prevents her conscious reflexivity from being able to divert periodic onslaughts of asphyxiating plush, the situation requiring simultaneous internal and external synthesized orchestrations for her reliable future to independently portend.
The film's action reliably and boisterously builds as the bright and beautiful Ryan Stone (Sandra Bullock) approaches its climax.
Couldn't help but think of the ending of the first Alien film, and that Gravity is somewhat of a gem amongst science-fiction considering that it poignantly and thought provokingly stuns throughout, providing a brilliant exemplar of feminine strength, without introducing a bloodthirsty monster.
Science-fiction more concerned with the beauty of life than gruesome death?
That stands out.
Cloudberry Branch
And if you ever the time
to venture through bequested climes
and extend your sojourn's climatic shine
to prolifically rematch their rhymes
to rhythms accustomed to the seasons,
the choicest hops allumed, Parisian,
misplaced garnered priceless treasures,
emoticons and cyphered measures
displaced by cognizant teacups,
and ornamental fistacuffs,
the legends lay beneath the rust
incantating tragic trusts
electric condensed cyclic surges
rush to the ice for plucky purges
then wild reborn cross-pollinations
camp through Summer's embarkations
a canoe, some goods, a spry backpack,
a sleeping bag to pace the track,
well-timed delicious tasty treats
and packs of colts for smokey heats!
keep your sights both low and high
to spot the wildlife in its stride,
bucolic picturesque potential,
polytechnic plush credentials.
to venture through bequested climes
and extend your sojourn's climatic shine
to prolifically rematch their rhymes
to rhythms accustomed to the seasons,
the choicest hops allumed, Parisian,
misplaced garnered priceless treasures,
emoticons and cyphered measures
displaced by cognizant teacups,
and ornamental fistacuffs,
the legends lay beneath the rust
incantating tragic trusts
electric condensed cyclic surges
rush to the ice for plucky purges
then wild reborn cross-pollinations
camp through Summer's embarkations
a canoe, some goods, a spry backpack,
a sleeping bag to pace the track,
well-timed delicious tasty treats
and packs of colts for smokey heats!
keep your sights both low and high
to spot the wildlife in its stride,
bucolic picturesque potential,
polytechnic plush credentials.
Runner Runner
Liked what happens in Runner Runner more than the film itself.
It's too generic for my tastes, not the kind of generic film that recognizes its shortcomings and works an awkward self-critical yet confident and bedazzling dimension into its reels, haughty and sporty, arrogant yet maudlin, but the kind that directly deals with a popular contemporary pastime (online gambling) by utilizing a straightforward style with all the associated bells and whistles, to maximize its take home without taking any serious risks.
Throughout the film serious risks are taken, the plot necessitates serious risk taking, it's just that it takes these serious risks leisurely and comfortably, straightforwardly, if that makes sense.
This aspect is best represented by the crocodile scene.
It still employs clever underground reversals however that made me glad I stuck it out till the end.
To avoid giving away what happens, imagine a situation where a brilliant statistical analyst has the worst possible luck and his financial situation dictates that alternative methods must be embraced if he's to succeed, like Inception's Cobb, the socioeconomic dice stacked against him in each and every sophisticated spin of the wheel, in/formal inter/national legalities stacking the deck, but tries to maximize his profits anyways, even though it could result in the loss of everything.
He makes his bet.
Doubles down.
Throws in the chips.
Undergrounds within undergrounds.
Proceeding delicately.
It's too generic for my tastes, not the kind of generic film that recognizes its shortcomings and works an awkward self-critical yet confident and bedazzling dimension into its reels, haughty and sporty, arrogant yet maudlin, but the kind that directly deals with a popular contemporary pastime (online gambling) by utilizing a straightforward style with all the associated bells and whistles, to maximize its take home without taking any serious risks.
Throughout the film serious risks are taken, the plot necessitates serious risk taking, it's just that it takes these serious risks leisurely and comfortably, straightforwardly, if that makes sense.
This aspect is best represented by the crocodile scene.
It still employs clever underground reversals however that made me glad I stuck it out till the end.
To avoid giving away what happens, imagine a situation where a brilliant statistical analyst has the worst possible luck and his financial situation dictates that alternative methods must be embraced if he's to succeed, like Inception's Cobb, the socioeconomic dice stacked against him in each and every sophisticated spin of the wheel, in/formal inter/national legalities stacking the deck, but tries to maximize his profits anyways, even though it could result in the loss of everything.
He makes his bet.
Doubles down.
Throws in the chips.
Undergrounds within undergrounds.
Proceeding delicately.
Thursday, October 10, 2013
Bear Mountain, XO
Love Bear Mountain's XO.
Listened to it 5 times last night.
5.
Don't know if I've ever done that with an album.
Listened to it 5 times last night.
5.
Don't know if I've ever done that with an album.
Wednesday, October 9, 2013
A mix of songs:
Take on Me, Ah Ha
Back in the U.S.S.R, The Beatles
Dear Prudence, The Beatles
Girl, Beck
Für Elise (Kashmire Trance), Beethoven
Sleep the Clock Around, Belle & Sebastian
There's too Much Love, Belle & Sebastian
I Don't Love Anyone, Belle & Sebastian
Dans mon litte, Canailles
Ena Fee Alyne, Cirque du Soleil
Berceuse, Cœur de Pirate
Lady Grinning Soul, David Bowie
Soul Love, David Bowie
The Man Who Sold the World, David Bowie
All Aboard, The Del McCoury Band
Postales, Federico Aubele
Les portes du soir, Indochine
Le Banquet, Jeszcze Raz
Through & Through & Through, Joel Plaskett
Rewind, Rewind, Rewind, Joel Plaskett
Precious, Precious, Precious, Joel Plaskett
Urami Bushi, Meiko Kaji
Garden Rose, Lavender Diamond
What's Ya Take on Cassavettes, Le Tigre
Ma vie à l'heure (La toune de l'ouest), Les Respectables
This Magic Moment, Lou Reed
Étienne d'aoȗt, Malajube
Combat Baby, Metric
It's Working, MGMT
Just Can't Get Enough, Depeche Mode
Carve a Name, Mother Mother
Cinnamon Girl, Neil Young & Crazy Horse
Hymn to Freedom, Oscar Peterson Trio
Any Colour You Like, Pink Floyd
Brain Damage, Pink Floyd
Eclipse, Pink Floyd
Have a Cigar, Pink Floyd
Sweet Mama, The Respectables
Sweet Virginia, The Rolling Stones
You Got the Silver, The Rolling Stones
Sway, The Rolling Stones
Neighbours, The Rolling Stones
She's a Rainbow, The Rolling Stones
War Paint, Rush
Don't You (Forget About Me), Simple Minds
You Went Away, Tegan & Sara
Pressure Drop, Toots & The Maytals
Blah Blah Blah, Toots & The Maytals
Spinal Meningitis (Got Me Down), Ween
The Mollusk, Ween
Baby Ran, 54-40
Ocean Pearl, 54-40
Dr. Who Theme, Orbital
French Disko, Stereolab
Take on Me, Ah Ha
Back in the U.S.S.R, The Beatles
Dear Prudence, The Beatles
Girl, Beck
Für Elise (Kashmire Trance), Beethoven
Sleep the Clock Around, Belle & Sebastian
There's too Much Love, Belle & Sebastian
I Don't Love Anyone, Belle & Sebastian
Dans mon litte, Canailles
Ena Fee Alyne, Cirque du Soleil
Berceuse, Cœur de Pirate
Lady Grinning Soul, David Bowie
Soul Love, David Bowie
The Man Who Sold the World, David Bowie
All Aboard, The Del McCoury Band
Postales, Federico Aubele
Les portes du soir, Indochine
Le Banquet, Jeszcze Raz
Through & Through & Through, Joel Plaskett
Rewind, Rewind, Rewind, Joel Plaskett
Precious, Precious, Precious, Joel Plaskett
Urami Bushi, Meiko Kaji
Garden Rose, Lavender Diamond
What's Ya Take on Cassavettes, Le Tigre
Ma vie à l'heure (La toune de l'ouest), Les Respectables
This Magic Moment, Lou Reed
Étienne d'aoȗt, Malajube
Combat Baby, Metric
It's Working, MGMT
Just Can't Get Enough, Depeche Mode
Carve a Name, Mother Mother
Cinnamon Girl, Neil Young & Crazy Horse
Hymn to Freedom, Oscar Peterson Trio
Any Colour You Like, Pink Floyd
Brain Damage, Pink Floyd
Eclipse, Pink Floyd
Have a Cigar, Pink Floyd
Sweet Mama, The Respectables
Sweet Virginia, The Rolling Stones
You Got the Silver, The Rolling Stones
Sway, The Rolling Stones
Neighbours, The Rolling Stones
She's a Rainbow, The Rolling Stones
War Paint, Rush
Don't You (Forget About Me), Simple Minds
You Went Away, Tegan & Sara
Pressure Drop, Toots & The Maytals
Blah Blah Blah, Toots & The Maytals
Spinal Meningitis (Got Me Down), Ween
The Mollusk, Ween
Baby Ran, 54-40
Ocean Pearl, 54-40
Dr. Who Theme, Orbital
French Disko, Stereolab
The Butler
Periodically piecing together various volatile historical tracts, intergenerationally sketching a people's hard beaten path, sustained successful service slowly evidencing sophistication and ingenuity, facets which for some archaic reason required proof, proof that wasn't that easy to come by due to multileveled systemic oppressions, which persist, and committed confrontational activism, manifesting different variations on a theme, familially questioning particular forms of engagement, Lee Daniels's The Butler functioning as a practical ideological switchboard, easy to follow yet deep and hard hitting, well suited to wide audiences, proper.
Considering the potent surge of what's being described as the new racism, this is an important film.
The Butler's a good starting point for young secondary students interested in learning more about 20th century American history as well, since it broadly condenses many important developments and personalities, thereby making them accessible, while setting them up with oppositions to avoid having things appear too simplistic, these elements serving to encourage further study.
It also demonstrates that your occupation or income doesn't necessarily limit your ability to play a role in the world at large.
Imagine what could have been done with web 2.0 back then.
Out of sight.
Considering the potent surge of what's being described as the new racism, this is an important film.
The Butler's a good starting point for young secondary students interested in learning more about 20th century American history as well, since it broadly condenses many important developments and personalities, thereby making them accessible, while setting them up with oppositions to avoid having things appear too simplistic, these elements serving to encourage further study.
It also demonstrates that your occupation or income doesn't necessarily limit your ability to play a role in the world at large.
Imagine what could have been done with web 2.0 back then.
Out of sight.
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