A poignant famished wanderlust
through blooming metropolic hushes
vectorized discreet tramways
and billowing arched prescient quays
adorn a trivial conception
blueberry bushels brewed in sessions
overflowing with a taste
of modest bombast, floral straits
Incline marooned modifications
time passing cues reforestation
a hunch submerging checkered plots
abbreviated composed thoughts
demystified incendiary
frisky cinnamon contraries
on Saint-Denis there rests a tavern
to satiate the microfathomed.
Pendant la nuit.
Sunday, January 5, 2014
Saturday, January 4, 2014
Mandela: Long Walk to Freedom
Justin Chadwick offers a selective charismatic altruistic account of Nelson Mandela's (Idris Elba) life in Mandela: Long Walk to Freedom.
Significant events from Mandela's heroic trials are qualitatively condensed then narratively harvested.
It unreels at a fast pace but Elba's calm committed confrontational resolve surreally subdues the passage of time, tantalizingly transforming 30 seconds into two-minutes-forty, proactively producing captivating capsules.
A good companion piece for 12 Years a Slave in terms of the differing approaches adopted to biographically elucidate, McQueen cultivating a shifting pyrodactic panorama, Chadwick proceeding more traditionally.
Chadwick doesn't shy away from presenting the difficulties associated with actively pursuing disenfranchised political agendas, and the toll Mandela's sublime idealism takes on his wives and children are dis/comfortingly displayed.
His first wife leaves him but his second never yields in her championing of his cause while he's imprisoned, suffering jail-time and countless indignities consequently.
Their breakup after he's released is perhaps the most unfortunate disengaging of amorous affections I've ever come across.
Winnie Madikizela-Mandela (Naomie Harris) kept the fire burning brightly throughout his 27 years in prison and seeing them part is tragic if not earth shattering.
But Mandela believed in a non-violent working solution and when provided with the opportunity to politically enact one, engaged.
Taking the resultant monumental fallout in stride.
Not a saint, perhaps, but definitely, a person of steel.
Significant events from Mandela's heroic trials are qualitatively condensed then narratively harvested.
It unreels at a fast pace but Elba's calm committed confrontational resolve surreally subdues the passage of time, tantalizingly transforming 30 seconds into two-minutes-forty, proactively producing captivating capsules.
A good companion piece for 12 Years a Slave in terms of the differing approaches adopted to biographically elucidate, McQueen cultivating a shifting pyrodactic panorama, Chadwick proceeding more traditionally.
Chadwick doesn't shy away from presenting the difficulties associated with actively pursuing disenfranchised political agendas, and the toll Mandela's sublime idealism takes on his wives and children are dis/comfortingly displayed.
His first wife leaves him but his second never yields in her championing of his cause while he's imprisoned, suffering jail-time and countless indignities consequently.
Their breakup after he's released is perhaps the most unfortunate disengaging of amorous affections I've ever come across.
Winnie Madikizela-Mandela (Naomie Harris) kept the fire burning brightly throughout his 27 years in prison and seeing them part is tragic if not earth shattering.
But Mandela believed in a non-violent working solution and when provided with the opportunity to politically enact one, engaged.
Taking the resultant monumental fallout in stride.
Not a saint, perhaps, but definitely, a person of steel.
Friday, January 3, 2014
NFL Wild Card Picks
Kansas City Chiefs/Indianapolis Colts: three of the last five times Kansas City's made the playoffs, they've played Indianapolis, losing every time. They met during the season as well, the Colts winning 23 to 7 on Dec. 22nd. KC lost 5 of its last 7 games while Indy won 5 of its last 7. Both teams struggled when playing competitive opponents during that stretch. The Chiefs were 6 and 2 on the road while Indianapolis was 6 and 2 at home. Kansas City has Andy Reid at the helm whose won many a Wild Card game, but Indianapolis, having lost last year during the Wild Card round, should be more composed this year. The numbers suggest that the Chiefs are doomed but Baltimore finished the 2012 season poorly and played well throughout the playoffs. Can Kansas City pull-off the upset? I think they can. Picking the Chiefs.
New Orleans Saints/Philadelphia Eagles: New Orleans, New Orleans, New Orleans. They generally play well but are prone to self-destruction. The Eagles have a new coach and a quarterback who seems built for success, the two combining to defeat many a challenging opponent this season. The Saints have met Philadelphia twice in the playoffs, winning once, losing once. The Eagles struggled at home while New Orleans had difficulties winning on the road. Both teams respectably won tough games all season long, but the Saints managed to score 31 points against Carolina's formidable (2nd ranked) defence (they also lost to Carolina 17-13). The Eagles let in 141 more points than Carolina this season. Nick Foles has the opportunity to prove that he's the NFC's Joey Flacco. But to do that he has to outperform Drew Brees. Picking New Orleans.
San Diego Chargers/Cincinnati Bengals: this is a huge game. San Diego won 5 of their last 6, only falling at the hands of the Bengals (17-10). Cincinnati also won 5 of their last 6, only falling at the hands of the resurgent Steelers (30-20). While the Bengal's offence has been scoring with unfettered potency, their defence has held some of the league's best offences to lacklustre totals, the Chargers only scoring 10 against them, New England, 6. They've met once before in the playoffs, Cincinnati winning 27-7 in 1981. Cincinnati has home field advantage. Cincinnati has lost 4 Wild Card games in recent years. San Diego is playing at a much higher level than their record suggests. But the Chargers are 4-4 on the road while the Bengals are undefeated at home. Once again, I'm picking, the Bengals. In a close explosive game. Snow could effect the outcome.
San Francisco 49ers/Green Bay Packers: the Pack didn't play that well this year but still sneaked into the playoffs without Aaron Rodgers at the helm for a large chunk of the season. They've outplayed San Francisco the majority of the times they've met in the playoffs however, and the forecast is calling for temperatures of between 3 and -20˚F in Green Bay. The Pack's offence is comparable to San Francisco's but their defence is much much worse. They met in week one, the 49ers winning 34-28, and San Fran's only lost twice since week 3, to New Orleans and Carolina. The 49ers are 6 and 2 on the road, Green Bay, 4, 3 and 1 at home. But the Packers are playing this game at home in January and the temperature will be freezing. According to my knowledge, San Francisco has yet to play in the cold this season, unless it was cold in Washington on November 25th. Atlanta won in Green Bay in January in 2002 but they finished their season in Cleveland on Dec. 29th and played in Minnesota on Dec. 1st. Aaron Rodgers is back and ready to play. Advantage Green Bay. Picking the Pack.
New Orleans Saints/Philadelphia Eagles: New Orleans, New Orleans, New Orleans. They generally play well but are prone to self-destruction. The Eagles have a new coach and a quarterback who seems built for success, the two combining to defeat many a challenging opponent this season. The Saints have met Philadelphia twice in the playoffs, winning once, losing once. The Eagles struggled at home while New Orleans had difficulties winning on the road. Both teams respectably won tough games all season long, but the Saints managed to score 31 points against Carolina's formidable (2nd ranked) defence (they also lost to Carolina 17-13). The Eagles let in 141 more points than Carolina this season. Nick Foles has the opportunity to prove that he's the NFC's Joey Flacco. But to do that he has to outperform Drew Brees. Picking New Orleans.
San Diego Chargers/Cincinnati Bengals: this is a huge game. San Diego won 5 of their last 6, only falling at the hands of the Bengals (17-10). Cincinnati also won 5 of their last 6, only falling at the hands of the resurgent Steelers (30-20). While the Bengal's offence has been scoring with unfettered potency, their defence has held some of the league's best offences to lacklustre totals, the Chargers only scoring 10 against them, New England, 6. They've met once before in the playoffs, Cincinnati winning 27-7 in 1981. Cincinnati has home field advantage. Cincinnati has lost 4 Wild Card games in recent years. San Diego is playing at a much higher level than their record suggests. But the Chargers are 4-4 on the road while the Bengals are undefeated at home. Once again, I'm picking, the Bengals. In a close explosive game. Snow could effect the outcome.
San Francisco 49ers/Green Bay Packers: the Pack didn't play that well this year but still sneaked into the playoffs without Aaron Rodgers at the helm for a large chunk of the season. They've outplayed San Francisco the majority of the times they've met in the playoffs however, and the forecast is calling for temperatures of between 3 and -20˚F in Green Bay. The Pack's offence is comparable to San Francisco's but their defence is much much worse. They met in week one, the 49ers winning 34-28, and San Fran's only lost twice since week 3, to New Orleans and Carolina. The 49ers are 6 and 2 on the road, Green Bay, 4, 3 and 1 at home. But the Packers are playing this game at home in January and the temperature will be freezing. According to my knowledge, San Francisco has yet to play in the cold this season, unless it was cold in Washington on November 25th. Atlanta won in Green Bay in January in 2002 but they finished their season in Cleveland on Dec. 29th and played in Minnesota on Dec. 1st. Aaron Rodgers is back and ready to play. Advantage Green Bay. Picking the Pack.
Monday, December 30, 2013
Oldboy
Much lighter than Chan-wook Park's demented bitter construct, Spike Lee's Oldboy is still illicit enough to provoke degenerative thoughts of decay, bathed in a regenerative yet psychotic ludic lotion, like a transgressive pantomime, cauterizing ruin.
Suppose this particular narrative inevitably comes across as dark.
Even if you throw in Ron Burgundy and his chipper news team.
The vindictive carousing of an insatiable werehyena.
A leather apron.
And a codified shield.
The game plan's the same.
Asshole. Locked in a room for more than a decade for no apparent reason. Suddenly released. Abounding tension. A set of clues. The diagnostic hammer.
Seismic atrophy.
The tension abounds but it lacks the all-encompassing sense of discombobulated dread cultivated by Park.
But I did prefer the new ending.
So dismal it brought a tear to me eye.
Why do people excel at imploding such vivid monstrous moral vivisections?
Vision. Goal. Cyanide.
The discipline of the Real.
Suppose this particular narrative inevitably comes across as dark.
Even if you throw in Ron Burgundy and his chipper news team.
The vindictive carousing of an insatiable werehyena.
A leather apron.
And a codified shield.
The game plan's the same.
Asshole. Locked in a room for more than a decade for no apparent reason. Suddenly released. Abounding tension. A set of clues. The diagnostic hammer.
Seismic atrophy.
The tension abounds but it lacks the all-encompassing sense of discombobulated dread cultivated by Park.
But I did prefer the new ending.
So dismal it brought a tear to me eye.
Why do people excel at imploding such vivid monstrous moral vivisections?
Vision. Goal. Cyanide.
The discipline of the Real.
Saturday, December 28, 2013
Anchorman 2: The Legend Continues
Ron Burgundy lead an extraordinary extracurricular promotional campaign leading up to the release of Anchorman 2: The Legend Continues, thereby suggesting that it must be an exceptional film, surpassing its comedic predecessor in varying degrees of hilarity, while stretching the boundaries of both ridiculousness and applicability, a voluminous viscosity, asinine yet chaste.
I'm used to seeing American comedies that are around 90 minutes in length but Anchorman 2 comes in at 119 according to its IMDB surrogate.
An out of the ordinary promotional campaign.
An extra 29 minutes.
Released a week before Christmas.
And Anchorman 2 delivers.
Ron Burgundy proves himself to be a sturdy bumbling honest easily upset independent intellectually discordant emotionally secure visceral champion for the everyperson, continuously and undauntedly moving forward, apart from when he decides to hang himself after a randy exhibition at Seaworld (see Blackfish).
He has his own polite style and definition of appropriateness which lead to conflicts when expressing himself within unknown vectors, yet he confidently bounces back and keeps focusing on the positive, action, reaction, proactivation, thereby inspiring his loyal news team.
Some team members function as reps for some somewhat revolting tendencies towards violence, but these tendencies are made to appear ludicrous, kind of, as Burgundy consistently outwits them.
The bats were a brilliant idea. The scorpions, the bowling balls, the bra covered in cats, the details, it's like every line and every scene were eruditely vetted by comedic veterans dedicated to making the best American comedy in years, many of the scenes appearing as if they were haphazardly thrown together, but you don't achieve this level of rowdy unconcerned reckless jocularity without patiently reviewing and editing every aspect of the production, while keeping in mind the havoc of the finished masterpiece simultaneously.
Film editing by Melissa Bretherton and Brent White.
Should I mention the battle?
The greatest most unexpected battle I've ever seen in an American film, with the Minotaur and a werehyena, that's right, a werehyena, plus a Canadian news team, introducing a fantastic sporty religious scientific historical mélange of postmodern acrobatic intensity, Alterius, Maiden of the Clouds (Kirsten Dunst) commencing the romp with her exclamatory horn, Vince Vaughn (Wes Mantooth), arriving at a pivotal, game changing moment.
Or Dolby? His song?
The figure skating?
The parenting?
Never really liked car chases but I do love animal stories.
Even better than Machete Kills.
Written by Will Ferrell and Adam McKay.
I'm used to seeing American comedies that are around 90 minutes in length but Anchorman 2 comes in at 119 according to its IMDB surrogate.
An out of the ordinary promotional campaign.
An extra 29 minutes.
Released a week before Christmas.
And Anchorman 2 delivers.
Ron Burgundy proves himself to be a sturdy bumbling honest easily upset independent intellectually discordant emotionally secure visceral champion for the everyperson, continuously and undauntedly moving forward, apart from when he decides to hang himself after a randy exhibition at Seaworld (see Blackfish).
He has his own polite style and definition of appropriateness which lead to conflicts when expressing himself within unknown vectors, yet he confidently bounces back and keeps focusing on the positive, action, reaction, proactivation, thereby inspiring his loyal news team.
Some team members function as reps for some somewhat revolting tendencies towards violence, but these tendencies are made to appear ludicrous, kind of, as Burgundy consistently outwits them.
The bats were a brilliant idea. The scorpions, the bowling balls, the bra covered in cats, the details, it's like every line and every scene were eruditely vetted by comedic veterans dedicated to making the best American comedy in years, many of the scenes appearing as if they were haphazardly thrown together, but you don't achieve this level of rowdy unconcerned reckless jocularity without patiently reviewing and editing every aspect of the production, while keeping in mind the havoc of the finished masterpiece simultaneously.
Film editing by Melissa Bretherton and Brent White.
Should I mention the battle?
The greatest most unexpected battle I've ever seen in an American film, with the Minotaur and a werehyena, that's right, a werehyena, plus a Canadian news team, introducing a fantastic sporty religious scientific historical mélange of postmodern acrobatic intensity, Alterius, Maiden of the Clouds (Kirsten Dunst) commencing the romp with her exclamatory horn, Vince Vaughn (Wes Mantooth), arriving at a pivotal, game changing moment.
Or Dolby? His song?
The figure skating?
The parenting?
Never really liked car chases but I do love animal stories.
Even better than Machete Kills.
Written by Will Ferrell and Adam McKay.
Friday, December 27, 2013
12 Years a Slave
Steve McQueen's 12 Years a Slave is an outstanding film, cautiously yet confidently condensing over a decade's worth of lesions into a cruel, wicked, sensitive, combative humanitarian analysis of slavery's perverse apocalyptic logic, without simply establishing stock polar oppositions but still proceeding unambiguously enough for good to be clearly distinguished from evil, this willowing contrast patiently woven by a perceptive painstaking piecemeal punctuality whose periods and com(m)as aren't definitely placed, but rather gradually appear and fade as the years pass, flowing into one another while delineating crescents, conscious of the a/temporal confines of progressive thoughts shortsightedly dominated by racist hierarchical sludge, wherein Christian principles lie in ruin yet are ignorantly and emphatically pontificated nonetheless, this oppressive static systematic abuse inevitably engendering madness, this sustained a/temporal madness captured again and again by the unforgiving sadistic capricious misery inflicted on the suffering, McQueen's morose humble vicious living characters defining slavery's hopeless absolute perfidy, and the monstrous affects of its cultural applications.
12 Years a Slave unreels like a biographical film, but is anything but a simple chronological serialization of events.
Each sequence rather develops an affect of its own, united by the general tragedy, but separate animate pieces still, as if McQueen took the extra time and care to consider each component's vital individuality while crafting it, in order to formally elevate freedom's fluctuating fervours, a voice of protest unconsciously applied, for characters facing the whip for minor transgressions.
Patsey (Lupita Nyong'o) has a small role but she stands out, having delivered the best supporting performance I've seen this year.
She doesn't appear often but when she does she affectively commands every desperate beaten nanosecond, as if, for a brief moment, the entire film solely concerns her, and will only make an impact if she performs second to none.
She also diversifies Solomon Northup's (Chiwetel Ejiofor) character by making a reasonable request which the memory of his former freedoms and hopes to one day regain them disables him from granting.
Thereby further intensifying the madness.
Acting as if it's nothing out of the ordinary.
12 Years a Slave unreels like a biographical film, but is anything but a simple chronological serialization of events.
Each sequence rather develops an affect of its own, united by the general tragedy, but separate animate pieces still, as if McQueen took the extra time and care to consider each component's vital individuality while crafting it, in order to formally elevate freedom's fluctuating fervours, a voice of protest unconsciously applied, for characters facing the whip for minor transgressions.
Patsey (Lupita Nyong'o) has a small role but she stands out, having delivered the best supporting performance I've seen this year.
She doesn't appear often but when she does she affectively commands every desperate beaten nanosecond, as if, for a brief moment, the entire film solely concerns her, and will only make an impact if she performs second to none.
She also diversifies Solomon Northup's (Chiwetel Ejiofor) character by making a reasonable request which the memory of his former freedoms and hopes to one day regain them disables him from granting.
Thereby further intensifying the madness.
Acting as if it's nothing out of the ordinary.
Monday, December 23, 2013
Cinnamon
Adroit perplexing kitty cat
a nimble flexed judicious smack
across residual disdains
hypnotic stowed eph'meral strains
crepuscular aloed horizons
dissident faint hatched reprises
mewling frisky strident strums
in evergreens, emphatic humming
prehensile adhesive swipes
combustible entreated plights
awareness clasps holistic traits
in transitive allusive feints.
And how.
a nimble flexed judicious smack
across residual disdains
hypnotic stowed eph'meral strains
crepuscular aloed horizons
dissident faint hatched reprises
mewling frisky strident strums
in evergreens, emphatic humming
prehensile adhesive swipes
combustible entreated plights
awareness clasps holistic traits
in transitive allusive feints.
And how.
Thursday, December 19, 2013
Frisky
Entranced, aligned, acute, alighted,
slingshot tears like feathered slighted
clashes of floral tip-toes,
peachy clean imbroglios,
a taut slice of ginger is introduced,
tempests gage the fragrant boost,
while steeped cascading ripe stipends,
in bitter, shrewd, assertive blends,
pontificate for points of view
with presents, punch, and jasmine too.
À la carte.
slingshot tears like feathered slighted
clashes of floral tip-toes,
peachy clean imbroglios,
a taut slice of ginger is introduced,
tempests gage the fragrant boost,
while steeped cascading ripe stipends,
in bitter, shrewd, assertive blends,
pontificate for points of view
with presents, punch, and jasmine too.
À la carte.
The Hobbit: The Desolation of Smaug
The quest to reclaim the treasure stolen then hoarded by the accursed dragon Smaug (Benedict Cumberbatch) continues, one hobbit and thirteen dwarves audaciously adventuring away.
Bilbo's (Martin Freeman) steady unerring quick-witted agility saves them from many interminable ends.
Humanistic politics and economics enter the fray as they meddle in Lake-Town (Esgaroth), the pragmatic and the opportunistic squaring off in a heated debate concerning the potential fallout from pent-up dragon wrath.
Parochial wood-elve rulers are critiqued for occupying their thoughts too exclusively with the safety of their own domain, even though the forces of evil threaten neighbouring lands as well.
One of his subjects, the stunning Tauriel (Evangeline Lilly), with long flowing red hair, breaks with tradition, and seeks the affections of Jacob rather than Edward, thereby securing a sacred trust, in pristine, alluvial pastures.
A new instalment in The Hobbit/Lord of the Rings narrative could focus primarily on her relationship with Kili (Aidan Turner), as the two are shunned by their respective cultures, eventually finding refuge with the skin-changing Beorn (Mikael Persbrandt).
(He changes into a bear).
Bilbo, in possession of the ring of power, could stop by to spy on them from time to time.
The Desolation of Smaug is a fast-paced thoughtful energetic sequel.
Loved how Thorin (Richard Armitage) dematerialized the imposing gold statue in his attempt to defeat Smaug, thereby symbolizing his own surmounting of the Scrooge-like pretensions akin to the acquisition of limitless wealth.
Kind of cheesy in the final moments.
Nice cliffhangers nevertheless.
Bilbo's (Martin Freeman) steady unerring quick-witted agility saves them from many interminable ends.
Humanistic politics and economics enter the fray as they meddle in Lake-Town (Esgaroth), the pragmatic and the opportunistic squaring off in a heated debate concerning the potential fallout from pent-up dragon wrath.
Parochial wood-elve rulers are critiqued for occupying their thoughts too exclusively with the safety of their own domain, even though the forces of evil threaten neighbouring lands as well.
One of his subjects, the stunning Tauriel (Evangeline Lilly), with long flowing red hair, breaks with tradition, and seeks the affections of Jacob rather than Edward, thereby securing a sacred trust, in pristine, alluvial pastures.
A new instalment in The Hobbit/Lord of the Rings narrative could focus primarily on her relationship with Kili (Aidan Turner), as the two are shunned by their respective cultures, eventually finding refuge with the skin-changing Beorn (Mikael Persbrandt).
(He changes into a bear).
Bilbo, in possession of the ring of power, could stop by to spy on them from time to time.
The Desolation of Smaug is a fast-paced thoughtful energetic sequel.
Loved how Thorin (Richard Armitage) dematerialized the imposing gold statue in his attempt to defeat Smaug, thereby symbolizing his own surmounting of the Scrooge-like pretensions akin to the acquisition of limitless wealth.
Kind of cheesy in the final moments.
Nice cliffhangers nevertheless.
Saturday, December 14, 2013
Out of the Furnace
Direct multilayered sociocultural oppositions contend, contrast, and coalesce as unpredicted vilified variables resuscitate/implement ancient/contemporary retributive, abysmal, and vindictive plaques, steady as she goes, reap the whirlwind, orderly disciplined straight and narrow paths, wild wanton adventurous tracts, unambiguous bucolic depth, heartbreaking rules, honourable clefts, Scott Cooper's Out of the Furnace, reasonably welding an ethical framework for subverting the law, according to a specific social set of incendiary standards.
The key to my interpretation comes from the fact that Russell Baze (Christian Bale) may lose his job at the mill, the very same mill where his father worked for his entire life, due to management's decision to move operations to China.
The film's villain, Harlan DeGroat (Woody Harrelson), has lived off-the-grid selling narcotics in the hills throughout his life, as his father presumably did before him.
DeGroat's survival suggests that an income can be earned out of the furnace, characterized by an alternative set of non-traditional denominators.
Should the mill close and no alternative well-paying job not requiring an education present itself, Baze will still have to earn an income.
Taxes from such well-paying jobs can be used to create sustainable public schools, hospitals, and transit systems.
If well-paid jobs not requiring an education continue to disappear and aren't replaced, and prices don't suddenly decrease significantly, the tax base required to support public schools, hospitals, and transit systems will decrease significantly as well, thereby increasing public deficits.
Food, shelter, and automobiles will still be sought after, however, and DeGroat's character demonstrates that they can indeed be gathered.
Now, Baze outwits DeGroat in the end, and likely doesn't go to prison, thereby suggesting that if North American workers who find themselves regrettably jobless must embrace underground economics to continue to provide for their families, then they can adopt the strategies but not the methods generationally applied for centuries by DeGroat's contemporaries and descendants, potentially replacing their narcotic provisions with more wholesome contraband goods and services, divergent ecotours catered by moonshine for instance, using portions of their profits to fund schools, hospitals and transit systems, as respectable industrialists (the good bourgeoisie) find ways to once again supply strictly legal employment, at home as opposed to somewhere in Asia.
From one Christmas to the next.
Incisive film forged with coruscating interpretative flames.
Disposable incomes that won't result in jail-time build thriving communities.
It's an old idea, I know.
But it still steeps an effervescent collective brew.
The key to my interpretation comes from the fact that Russell Baze (Christian Bale) may lose his job at the mill, the very same mill where his father worked for his entire life, due to management's decision to move operations to China.
The film's villain, Harlan DeGroat (Woody Harrelson), has lived off-the-grid selling narcotics in the hills throughout his life, as his father presumably did before him.
DeGroat's survival suggests that an income can be earned out of the furnace, characterized by an alternative set of non-traditional denominators.
Should the mill close and no alternative well-paying job not requiring an education present itself, Baze will still have to earn an income.
Taxes from such well-paying jobs can be used to create sustainable public schools, hospitals, and transit systems.
If well-paid jobs not requiring an education continue to disappear and aren't replaced, and prices don't suddenly decrease significantly, the tax base required to support public schools, hospitals, and transit systems will decrease significantly as well, thereby increasing public deficits.
Food, shelter, and automobiles will still be sought after, however, and DeGroat's character demonstrates that they can indeed be gathered.
Now, Baze outwits DeGroat in the end, and likely doesn't go to prison, thereby suggesting that if North American workers who find themselves regrettably jobless must embrace underground economics to continue to provide for their families, then they can adopt the strategies but not the methods generationally applied for centuries by DeGroat's contemporaries and descendants, potentially replacing their narcotic provisions with more wholesome contraband goods and services, divergent ecotours catered by moonshine for instance, using portions of their profits to fund schools, hospitals and transit systems, as respectable industrialists (the good bourgeoisie) find ways to once again supply strictly legal employment, at home as opposed to somewhere in Asia.
From one Christmas to the next.
Incisive film forged with coruscating interpretative flames.
Disposable incomes that won't result in jail-time build thriving communities.
It's an old idea, I know.
But it still steeps an effervescent collective brew.
Tuesday, December 10, 2013
You know, there is a silver lining to Rob Ford hanging around, although it's sad that he hasn't resigned.
The thing is, if you listen to what he's saying, and he's in the news regularly saying outrageous things, trying to pass them off as if they're legitimate points, without recognizing his/their rather flagrant shortcomings, you can't help but think, if you're on the Left in Canadian politics, that the longer this yahoo remains in the public eye, the more and more ridiculous the Canadian Right appears.
He's like the excessive unleashed wanton byproduct of the Federal conservative party's tendency to operate incognito.
If he's still around during the next Federal election, it could bode well for Left-Wing Canadian politics, featuring the NDP.
Although in the meantime, it's quite unsettling.
The thing is, if you listen to what he's saying, and he's in the news regularly saying outrageous things, trying to pass them off as if they're legitimate points, without recognizing his/their rather flagrant shortcomings, you can't help but think, if you're on the Left in Canadian politics, that the longer this yahoo remains in the public eye, the more and more ridiculous the Canadian Right appears.
He's like the excessive unleashed wanton byproduct of the Federal conservative party's tendency to operate incognito.
If he's still around during the next Federal election, it could bode well for Left-Wing Canadian politics, featuring the NDP.
Although in the meantime, it's quite unsettling.
Violette
The drive for publication, honest controversial fearless prose, risks taken, contacts established, unerring syntactic strides, desires unfulfilled, sacrifices, tormenting, longitudinal allusive reins, interactive bucolic strains, prohibited friendships lamented, unsettled confrontational muse, pluralizing her stricken sentence, substantive, and disobeyed.
Didn't think Simone de Beauvoir (Sandrine Kiberlain) would like Proust.
Perhaps she did momentarily.
Making the short-film in the middle broke up the traditional chronological categorizing well, hilariously lightening while intensifying the sombre desperate elegance.
Tough life decisions.
Rewarded.
The countryside provides a nourishing wellspring of seductive solitude whose tranquil rhythms encourage profuse flourishes.
Difficulties associated with maintaining prolonged professional literary acquaintances are amorously and quasi-hierarchically socialized.
She just does what comes naturally, boldly sharing her relevant thoughts which create intellectually diverse yet accessible cultural markets for millions who were otherwise forced to unconsciously contemplate the patriarchal.
Violette Leduc (Emmanuelle Devos).
Groundbreaker.
Innovator.
Writer.
Didn't think Simone de Beauvoir (Sandrine Kiberlain) would like Proust.
Perhaps she did momentarily.
Making the short-film in the middle broke up the traditional chronological categorizing well, hilariously lightening while intensifying the sombre desperate elegance.
Tough life decisions.
Rewarded.
The countryside provides a nourishing wellspring of seductive solitude whose tranquil rhythms encourage profuse flourishes.
Difficulties associated with maintaining prolonged professional literary acquaintances are amorously and quasi-hierarchically socialized.
She just does what comes naturally, boldly sharing her relevant thoughts which create intellectually diverse yet accessible cultural markets for millions who were otherwise forced to unconsciously contemplate the patriarchal.
Violette Leduc (Emmanuelle Devos).
Groundbreaker.
Innovator.
Writer.
Thursday, December 5, 2013
Philomena
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.
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.
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.
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