Declarative desire dedicatedly persists after state sanctioned seclusion silences its volatile temerity.
Another, resigned yet combative, is enamoured.
The fate of a rebellious young adult becomes a decisive tangible consequent as the Stasi's invasive pressure deliberately dehumanizes.
A doctor, emphatically refuses, to be muzzled.
Carefully contextualizing different varieties of tension, while diagnosing risk with surgical precision, Christian Petzold's Barbara internally serenades freedom of expression, and externalizes a crisp courageous spiritualization.
An extensive reactive multilateral engagement furtively negotiates an honest state of affairs.
Its interconnected inextricable professional, personal, romantic, governmental and (inter)national relationships foment a forlorn fugitive firmament wherein influential forces collaborate and contend.
Interrogating what it means to pursue.
Attempting to have their voices heard.
Wednesday, February 27, 2013
Saturday, February 23, 2013
The Berlin File
Setting a new standard for fast-paced intricate multilayered action packed films covertly concerned with international relations, Seung-wan Ryoo's The Berlin File's depth frantically conceptualizes a practical competitive bellicose ideological maelstrom, wherein interpersonal integrity can trump engrained national antimonies, as the ambitious pretentions of a jealous privileged communist usurper stereoscopically attempt to remagnify its vortex.
Good communists and bad communists.
Respect for North Korea?
Deconstructive hypoallergenic hyper-reflexive expedition.
And a remarketable union.
The issue of trust gravitationally staggers through myriad ulterior transitional focal points until a specific set of exceptional checks and balances produces an ephemeral allegiance, an amicable diplomatic extract.
The film's tight chaotic suction implodes near the end as a protagonist and his principal enemy square off like traditional martial marionettes.
Still pretty cool.
Both of the main male communist characters can be thought of as members of North Korea's materialistic pantheon, but the bad one's father occupies a high ranking influential yet corrupt position in the country's militaristic elite.
The other is an extraordinary citizen whose unyielding belief and support have strengthened his iron constitution.
Whether or not he can continue to exercise his commitment to his country, even though an everlasting magical freedom guaranteeing surplus seems somewhat fantastical, not that one shouldn't attempt to realize aspects of it through parliamentary means, depends upon that country's commitment to him.
Hoping there's a sequel.
Sort of like the anti-Die Hard 5.
Good communists and bad communists.
Respect for North Korea?
Deconstructive hypoallergenic hyper-reflexive expedition.
And a remarketable union.
The issue of trust gravitationally staggers through myriad ulterior transitional focal points until a specific set of exceptional checks and balances produces an ephemeral allegiance, an amicable diplomatic extract.
The film's tight chaotic suction implodes near the end as a protagonist and his principal enemy square off like traditional martial marionettes.
Still pretty cool.
Both of the main male communist characters can be thought of as members of North Korea's materialistic pantheon, but the bad one's father occupies a high ranking influential yet corrupt position in the country's militaristic elite.
The other is an extraordinary citizen whose unyielding belief and support have strengthened his iron constitution.
Whether or not he can continue to exercise his commitment to his country, even though an everlasting magical freedom guaranteeing surplus seems somewhat fantastical, not that one shouldn't attempt to realize aspects of it through parliamentary means, depends upon that country's commitment to him.
Hoping there's a sequel.
Sort of like the anti-Die Hard 5.
Wednesday, February 20, 2013
Collage
A trail of bread crumbs
swiftly connects
global mirth's multilingual texts,
ludic mischief, craftspersonship,
inspired and seasoned
didactic clips;
as I listen I often find
strange parallels
evincing signs
to which that day's clear comments speak,
as voices add their playful cheek.
swiftly connects
global mirth's multilingual texts,
ludic mischief, craftspersonship,
inspired and seasoned
didactic clips;
as I listen I often find
strange parallels
evincing signs
to which that day's clear comments speak,
as voices add their playful cheek.
A Good Day to Die Hard
Ah, liked the other Die Hard films.
Even Die Hard 3.
Live Free or Die Hard was a big surprise, seeing how it was the franchise's 4th instalment and disseminated one of its best narratives.
Bearing this in mind, I was excited when I heard that A Good Day to Die Hard was being released, naively figuring that they would at least sustain Die Hard 4's momentum with another deep script packed with the expected explosive cast of supporting characters.
In other words, I completely forgot that this was Die Hard 5.
Bruce Willis still excels at playing John McClane. There weren't any moments where it seemed as if he had lost touch with the hands-on hardboiled lawperson whose gifts for instantaneously outwitting ingenious villains in the heat of the moment flexibly manifests an endearing contextual psychocorporeality.
But no single performance could have saved this film, with its brutal lines, shoddy editing, improbable scenarios (usually you try and set up an elaborate situation whose intricate details, improbable though they may be, at least cleverly conceal the improbability), and rather one-dimensional depiction of Russia.
The idea behind the script is solid. Send Mr. McClane to another country where he must contend with the wicked with the help of his son (Jai Courtney as Jack McClane) thereby quasi-globalizing his law enforcement instinct while strengthening his commitment to family.
The film's best moments see John and Jack airing their grievances while preparing for another round of improvisational hyperactivity, and its best line is "Tough to kill a McClane."
But Die Hard 5 can still be categorized with Rocky V and Star Trek V, more concerned with its image than the traditional kinetic synthesis of action, dialogue, stitch, and kitsch that produced it.
Remember the cold war? The creative forces behind Die Hard 5 sure do.
Ugh.
Even Die Hard 3.
Live Free or Die Hard was a big surprise, seeing how it was the franchise's 4th instalment and disseminated one of its best narratives.
Bearing this in mind, I was excited when I heard that A Good Day to Die Hard was being released, naively figuring that they would at least sustain Die Hard 4's momentum with another deep script packed with the expected explosive cast of supporting characters.
In other words, I completely forgot that this was Die Hard 5.
Bruce Willis still excels at playing John McClane. There weren't any moments where it seemed as if he had lost touch with the hands-on hardboiled lawperson whose gifts for instantaneously outwitting ingenious villains in the heat of the moment flexibly manifests an endearing contextual psychocorporeality.
But no single performance could have saved this film, with its brutal lines, shoddy editing, improbable scenarios (usually you try and set up an elaborate situation whose intricate details, improbable though they may be, at least cleverly conceal the improbability), and rather one-dimensional depiction of Russia.
The idea behind the script is solid. Send Mr. McClane to another country where he must contend with the wicked with the help of his son (Jai Courtney as Jack McClane) thereby quasi-globalizing his law enforcement instinct while strengthening his commitment to family.
The film's best moments see John and Jack airing their grievances while preparing for another round of improvisational hyperactivity, and its best line is "Tough to kill a McClane."
But Die Hard 5 can still be categorized with Rocky V and Star Trek V, more concerned with its image than the traditional kinetic synthesis of action, dialogue, stitch, and kitsch that produced it.
Remember the cold war? The creative forces behind Die Hard 5 sure do.
Ugh.
Saturday, February 16, 2013
Identity Thief
Loved Planes, Trains & Automobiles growing up.
Arguably both John Candy and Steve Martin's best movie, it brought together two of Hollywood's leading comedic actors, set them up as a mismatched pair, simultaneously catered to bourgeois and working class sympathies, and used Thanksgiving to tie everything together.
By the end of the film, Neal Page (Martin) has been transformed from a cold representative of the bad bourgeoisie who have no social conscience to someone who will at least invite a lonely friend to his home for dinner.
Del Griffith (Candy) smiles, everyone's happy, the end.
26 years later, Seth Gordon's Identity Thief works within the same paradigm, but the cultural codes of the game have changed.
If we're to take the information provided in Michael Moore's Capitalism: A Love Story as solid indisputable fact, unions had generated stable, prosperous bourgeois lives for many working Americans until their strength was weakened by the Reagan administration and many of their jobs shipped elsewhere, some, in the interests of capitalism, to at least one communist country.
Theoretically, a significant proportion of the American population were no longer able to maintain their suburban lifestyles (in the same location over a long period of time) and found themselves individually competing for new jobs in a pop cultural system that vilified anything besides the undeniably exceptional.
Does this theory resonate throughout little old unsuspecting Identity Thief?
I don't know, but here's my take.
Lead character Sandy Patterson (Jason Bateman) is struggling to get by, working for a corporation who only values the contributions of upper management, living with his wife and two kids.
He's played his cards right but at the end of the month only has a little more than 14 dollars of potential savings to show for it.
And trouble's a brewin.'
Diana (Melissa McCarthy) makes her living stealing peoples identities and using them to finance her freewheelin' acquisitive lifestyle (Patterson seems like he's too smart to have fallen for her scam, but that's another matter).
She steals that of Mr. Patterson just as he launches a career as the vice-president of a new company.
Naturally he's pissed, and sets out for Florida to confront and bring her back to Denver, due to infrastructural peculiarities that prevent the Denver PD from working with their Floridian counterparts.
But he's not the only one in hot pursuit, for she's run afoul of others seeking vengeance who track and attempt to overcome Sandy and Diana after Sandy captures her.
By the end of the film, Sandy's developed a social conscience at least to the degree where he cares about one of the proletarian characters who ends up in jail.
Most of the proletarian characters (likely) end up in jail.
Thus, as good jobs become harder to find than they were in the 1980s, working American people find themselves resorting to a higher degree of criminal activity, much more violent than John Candy's family friendly shenanigans, corporate upper management remains influential and unaffected unless those whom they disregard can out-compete them in the marketplace (hopefully without becoming like them during the struggle), wherein which these competitors might lose everything, as some seem to have even though they had stable unionized jobs, which possibly faltered due to their lack of a coordinated multidisciplinary international network.
Among thousands of other rather complicated factors of which I'm unaware.
Identity Thief's script contains a broader array of consistent characters than Planes, Trains & Automobiles, Melissa McCarthy's performance is strong enough to indicate that she may be able to function as a 21st century John Candy, there are some funny scenes which utilize sleaze as everyone chases, tricks, slanders, and/or shoots at one another, which seems to be the comic style of our time, but it's not attached to a holiday, and is missing a substitute for Steve Martin.
Jason Bateman's good. I love his work. Bold to compete with Steve Martin. I wouldn't even be able to order coffee for an extra's stunt double.
Genesis Rodriguez (Marisol) is my favourite real world name ever.
No mention of the Broncos.
Arguably both John Candy and Steve Martin's best movie, it brought together two of Hollywood's leading comedic actors, set them up as a mismatched pair, simultaneously catered to bourgeois and working class sympathies, and used Thanksgiving to tie everything together.
By the end of the film, Neal Page (Martin) has been transformed from a cold representative of the bad bourgeoisie who have no social conscience to someone who will at least invite a lonely friend to his home for dinner.
Del Griffith (Candy) smiles, everyone's happy, the end.
26 years later, Seth Gordon's Identity Thief works within the same paradigm, but the cultural codes of the game have changed.
If we're to take the information provided in Michael Moore's Capitalism: A Love Story as solid indisputable fact, unions had generated stable, prosperous bourgeois lives for many working Americans until their strength was weakened by the Reagan administration and many of their jobs shipped elsewhere, some, in the interests of capitalism, to at least one communist country.
Theoretically, a significant proportion of the American population were no longer able to maintain their suburban lifestyles (in the same location over a long period of time) and found themselves individually competing for new jobs in a pop cultural system that vilified anything besides the undeniably exceptional.
Does this theory resonate throughout little old unsuspecting Identity Thief?
I don't know, but here's my take.
Lead character Sandy Patterson (Jason Bateman) is struggling to get by, working for a corporation who only values the contributions of upper management, living with his wife and two kids.
He's played his cards right but at the end of the month only has a little more than 14 dollars of potential savings to show for it.
And trouble's a brewin.'
Diana (Melissa McCarthy) makes her living stealing peoples identities and using them to finance her freewheelin' acquisitive lifestyle (Patterson seems like he's too smart to have fallen for her scam, but that's another matter).
She steals that of Mr. Patterson just as he launches a career as the vice-president of a new company.
Naturally he's pissed, and sets out for Florida to confront and bring her back to Denver, due to infrastructural peculiarities that prevent the Denver PD from working with their Floridian counterparts.
But he's not the only one in hot pursuit, for she's run afoul of others seeking vengeance who track and attempt to overcome Sandy and Diana after Sandy captures her.
By the end of the film, Sandy's developed a social conscience at least to the degree where he cares about one of the proletarian characters who ends up in jail.
Most of the proletarian characters (likely) end up in jail.
Thus, as good jobs become harder to find than they were in the 1980s, working American people find themselves resorting to a higher degree of criminal activity, much more violent than John Candy's family friendly shenanigans, corporate upper management remains influential and unaffected unless those whom they disregard can out-compete them in the marketplace (hopefully without becoming like them during the struggle), wherein which these competitors might lose everything, as some seem to have even though they had stable unionized jobs, which possibly faltered due to their lack of a coordinated multidisciplinary international network.
Among thousands of other rather complicated factors of which I'm unaware.
Identity Thief's script contains a broader array of consistent characters than Planes, Trains & Automobiles, Melissa McCarthy's performance is strong enough to indicate that she may be able to function as a 21st century John Candy, there are some funny scenes which utilize sleaze as everyone chases, tricks, slanders, and/or shoots at one another, which seems to be the comic style of our time, but it's not attached to a holiday, and is missing a substitute for Steve Martin.
Jason Bateman's good. I love his work. Bold to compete with Steve Martin. I wouldn't even be able to order coffee for an extra's stunt double.
Genesis Rodriguez (Marisol) is my favourite real world name ever.
No mention of the Broncos.
Thursday, February 14, 2013
Social Capital
The scythe unsheathed
surges having detected
camaraderie which
decisively dodges
its blade having
sharply seduced
its incision.
surges having detected
camaraderie which
decisively dodges
its blade having
sharply seduced
its incision.
Le prix des mots
Engaging in speculation can be a risky business.
Julien Fréchette's Le prix des mots explores how engaging in what can be thought of as scholarly research can be risky as well, if you draw conclusions from your research that directly critique those who seem like enormously wealthy capitalistic players.
In Canada anyways.
Mining is big business in Canada.
When I look around my apartment and count the gadgets and appliances I frequently use that wouldn't exist without mining, and consider the social programs that can be supported through the extraction of minerals, as well as the jobs that can be consequently created, I don't see much of a problem with it, as I've stated before.
But said mining operations must proceed ethically in an environmentally and socially responsible manner so that tax payers aren't left cleaning up potentially irremediable pollution for generations to come, and the workers can enjoy a fruitful share of their profits.
According to this article, containing information from Canadian Commissioner of the Environment and Sustainable Development Scott Vaughan's final report after five years on the job, if there was currently an oil spill or nuclear accident within Canada, Canadian taxpayers would be exposed to huge financial risks.
According to this look at closure alternatives for Yukon's faro mine, moving the tailings could take between 10 to 20 years, and this article states that "with devolution, managing the cleanup of the mine became the responsibility of the Yukon government, while Ottawa is still obligated to pay the bills," although it doesn't mention whether or not Ottawa is exclusively paying for the cleanup with tax payers money (I think it's safe to speculate that this could partially be the case).
To speculate further, applying environmental regulations can also be a tricky business. Constant vigilance is possibly required. This requires chill lefties to adopt psychological dispositions that can be stereotypically associated with their right wing counterparts, although there are probably plenty of chill right wingers as well as a plethora of tenacious left wing professionals. The adoption of such dispositions will possibly lead to a conservative comedic backlash, and it's possibly easier for people to appear chill when they're sitting on boatloads of cash (that can possibly be used to conservatively prop up pop culture [people with money often don't do this and many are deserving of a sincere degree of respect due to how hard they work, their intelligence, the jobs they create, and their commitment to democratically ensuring that those jobs are available for years to come]).
Le prix des mots is about what I consider to be a courageous book, based upon what I've seen in the film, Alain Deneault's Noir Canada, and the problems Mr. Deneault and his publisher Écosociété encountered after its publication.
It was only published in French in Québec but ended up being prosecuted for libel in an Ontarian court afterwards.
Parts of Mr. Deneault's defence are presented in the film and it seemed to me like he was on trial for drawing logical conclusions from the articles he cited in his book.
Perhaps the language he used was too direct, but if everyone who draws logical conclusions from cited articles ended up being sued for libel, you would have to place written and verbal communication themselves on trial, as, according to my understanding of the phenomenons, that's what they do.
One could potentially interview/interrogate/subpoena everyone who ever wrote about/interpreted/criticized/discussed a specific printed entity, if they had the financial resources, until so much ambiguity was attached to every nuance that it would be impossible to make a clear point, the clear points people are often taught to make using the active voice in school, as if the active voice itself is reserved for the forces of capital.
If that clear point happens to be true and it's made in the defence of people who don't have vast financial resources by someone who also doesn't have vast financial resources, this could be (is?) a serious problem.
Écosociété confidently stood by Mr. Deneault throughout the proceedings.
His book is about the activities of some Canadian mining companies in Africa and how they (possibly) affected local populations.
Looking forward to picking up a copy.
Julien Fréchette's Le prix des mots explores how engaging in what can be thought of as scholarly research can be risky as well, if you draw conclusions from your research that directly critique those who seem like enormously wealthy capitalistic players.
In Canada anyways.
Mining is big business in Canada.
When I look around my apartment and count the gadgets and appliances I frequently use that wouldn't exist without mining, and consider the social programs that can be supported through the extraction of minerals, as well as the jobs that can be consequently created, I don't see much of a problem with it, as I've stated before.
But said mining operations must proceed ethically in an environmentally and socially responsible manner so that tax payers aren't left cleaning up potentially irremediable pollution for generations to come, and the workers can enjoy a fruitful share of their profits.
According to this article, containing information from Canadian Commissioner of the Environment and Sustainable Development Scott Vaughan's final report after five years on the job, if there was currently an oil spill or nuclear accident within Canada, Canadian taxpayers would be exposed to huge financial risks.
According to this look at closure alternatives for Yukon's faro mine, moving the tailings could take between 10 to 20 years, and this article states that "with devolution, managing the cleanup of the mine became the responsibility of the Yukon government, while Ottawa is still obligated to pay the bills," although it doesn't mention whether or not Ottawa is exclusively paying for the cleanup with tax payers money (I think it's safe to speculate that this could partially be the case).
To speculate further, applying environmental regulations can also be a tricky business. Constant vigilance is possibly required. This requires chill lefties to adopt psychological dispositions that can be stereotypically associated with their right wing counterparts, although there are probably plenty of chill right wingers as well as a plethora of tenacious left wing professionals. The adoption of such dispositions will possibly lead to a conservative comedic backlash, and it's possibly easier for people to appear chill when they're sitting on boatloads of cash (that can possibly be used to conservatively prop up pop culture [people with money often don't do this and many are deserving of a sincere degree of respect due to how hard they work, their intelligence, the jobs they create, and their commitment to democratically ensuring that those jobs are available for years to come]).
Le prix des mots is about what I consider to be a courageous book, based upon what I've seen in the film, Alain Deneault's Noir Canada, and the problems Mr. Deneault and his publisher Écosociété encountered after its publication.
It was only published in French in Québec but ended up being prosecuted for libel in an Ontarian court afterwards.
Parts of Mr. Deneault's defence are presented in the film and it seemed to me like he was on trial for drawing logical conclusions from the articles he cited in his book.
Perhaps the language he used was too direct, but if everyone who draws logical conclusions from cited articles ended up being sued for libel, you would have to place written and verbal communication themselves on trial, as, according to my understanding of the phenomenons, that's what they do.
One could potentially interview/interrogate/subpoena everyone who ever wrote about/interpreted/criticized/discussed a specific printed entity, if they had the financial resources, until so much ambiguity was attached to every nuance that it would be impossible to make a clear point, the clear points people are often taught to make using the active voice in school, as if the active voice itself is reserved for the forces of capital.
If that clear point happens to be true and it's made in the defence of people who don't have vast financial resources by someone who also doesn't have vast financial resources, this could be (is?) a serious problem.
Écosociété confidently stood by Mr. Deneault throughout the proceedings.
His book is about the activities of some Canadian mining companies in Africa and how they (possibly) affected local populations.
Looking forward to picking up a copy.
Saturday, February 9, 2013
Oscar Picks, 2013
Actor in a leading role: Daniel Day-Lewis (Lincoln)
Actress in a leading role: Emmanuelle Riva (Amour)
Actor in a supporting role: Philip Seymour Hoffman (The Master)
Actress in a supporting role: Anne Hathaway (Les Misérables)
Cinematography: Seamus McGarvey (Anna Karenina)
Director: Benh Zeitlin (Beasts of the Southern Wild)
Film editing: Michael Kahn (Lincoln)
Music, original score: John Williams (Lincoln)
Music, original song: Music by Walter Murphy, Lyric by Seth MacFarlane ("Everybody Needs a Best Friend," Ted)
Short film, animated: Timothy Reckart and Fodhla Cronin O'Reilly (Head Over Heels)
Short film, live action: Yan England (Henry)
Visual effects: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, and Donald R. Elliot (Life of Pi)
Writing, adapted screenplay: Tony Kushner (Lincoln)
Writing, original screenplay: Wes Anderson and Roman Coppola (Moonrise Kingdom)
Best Picture: Steven Spielberg and Kathleen Kennedy, Producers (Lincoln)
Actress in a leading role: Emmanuelle Riva (Amour)
Actor in a supporting role: Philip Seymour Hoffman (The Master)
Actress in a supporting role: Anne Hathaway (Les Misérables)
Cinematography: Seamus McGarvey (Anna Karenina)
Director: Benh Zeitlin (Beasts of the Southern Wild)
Film editing: Michael Kahn (Lincoln)
Music, original score: John Williams (Lincoln)
Music, original song: Music by Walter Murphy, Lyric by Seth MacFarlane ("Everybody Needs a Best Friend," Ted)
Short film, animated: Timothy Reckart and Fodhla Cronin O'Reilly (Head Over Heels)
Short film, live action: Yan England (Henry)
Visual effects: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, and Donald R. Elliot (Life of Pi)
Writing, adapted screenplay: Tony Kushner (Lincoln)
Writing, original screenplay: Wes Anderson and Roman Coppola (Moonrise Kingdom)
Best Picture: Steven Spielberg and Kathleen Kennedy, Producers (Lincoln)
Stand Up Guys
Went in blind to this one, lured by the cast, became worried after viewing a preview for Red 2, but then the laid-back unpretentious low-key credits and accompanying music brought upon feelings of relief, illuminated by Doc's (Christopher Walken) artwork, reminding me of those from Barfly and Pulp Fiction, for some unknown reason.
Was still worried that the film may be too status quo having been let down by similarly cast movies in the past, but wow, my worries faded quickly as I discovered that in the twilights of their careers, Christopher Walken, Al Pacino (Val), and Alan Arkin (Hirsch) were taking on grizzled rambunctious radioactive roles with hardly any inkling of sanitary preconditioning, they just thought it up and did it, ironically reincarnating the precocious spirit that likely lead to them becoming Hollywood mainstays in the first place.
Challenge. Acceptance. Realization.
That description applies more directly to Al Pacino who plays the most dynamic part but Walken and Arkin also get the job done.
The film explores a pyrotechnic variability while slowly excavating poignant distinct clarifications.
Hirsch's introduction escalates a seismic shift after which malfeasancient minerals are mercantilized.
It's funny.
Director Fisher Stevens knows how to make you laugh by encouraging specific nondescript awkward facial expressions or juxtaposing a hardened con with his choice of tasty treats.
Economic matters are classified while its joie de vivre is liquidated.
And family and friendship find frenzied filial refinements in the final moments.
Plus, these guys have a potent response for the coercive rapacious scum found in Kim Nguyen's Rebelle.
Volatile, chill, and collaborative.
On the record.
Was still worried that the film may be too status quo having been let down by similarly cast movies in the past, but wow, my worries faded quickly as I discovered that in the twilights of their careers, Christopher Walken, Al Pacino (Val), and Alan Arkin (Hirsch) were taking on grizzled rambunctious radioactive roles with hardly any inkling of sanitary preconditioning, they just thought it up and did it, ironically reincarnating the precocious spirit that likely lead to them becoming Hollywood mainstays in the first place.
Challenge. Acceptance. Realization.
That description applies more directly to Al Pacino who plays the most dynamic part but Walken and Arkin also get the job done.
The film explores a pyrotechnic variability while slowly excavating poignant distinct clarifications.
Hirsch's introduction escalates a seismic shift after which malfeasancient minerals are mercantilized.
It's funny.
Director Fisher Stevens knows how to make you laugh by encouraging specific nondescript awkward facial expressions or juxtaposing a hardened con with his choice of tasty treats.
Economic matters are classified while its joie de vivre is liquidated.
And family and friendship find frenzied filial refinements in the final moments.
Plus, these guys have a potent response for the coercive rapacious scum found in Kim Nguyen's Rebelle.
Volatile, chill, and collaborative.
On the record.
Friday, February 8, 2013
Rebelle (War Witch)
Calmly passing through a series of tumultuous events, Kim Nguyen's Rebelle (War Witch) follows Komona's (Rachel Mwanza) path as she's forced to serve as a child soldier.
Viciously separated from her family, she despondently acquiesces to her chaotic surroundings, inductively developing psychological survival strategies which enable her to tactically trudge through her wartorn environment.
The film placidly displays the bitter helpless wanton affects her predicament necessitates before accentuating their terror by transferring them to a supportive realm wherein their sublimation proves perplexing.
It's not emotive or sentimental, just a raw exemplification of debilitating dissonance which presents a reality the victims of organized violent insurgencies must endure.
Under the guise of their best interests.
How one suddenly returns to a constructive life after suffering under such hardships without occasionally expressing themselves with fits of irrepressible anger is beyond me.
Complete with contextual symbolic sabotage.
Viciously separated from her family, she despondently acquiesces to her chaotic surroundings, inductively developing psychological survival strategies which enable her to tactically trudge through her wartorn environment.
The film placidly displays the bitter helpless wanton affects her predicament necessitates before accentuating their terror by transferring them to a supportive realm wherein their sublimation proves perplexing.
It's not emotive or sentimental, just a raw exemplification of debilitating dissonance which presents a reality the victims of organized violent insurgencies must endure.
Under the guise of their best interests.
How one suddenly returns to a constructive life after suffering under such hardships without occasionally expressing themselves with fits of irrepressible anger is beyond me.
Complete with contextual symbolic sabotage.
Monday, February 4, 2013
En kongelig affære (A Royal Affair)
A gifted enlightened town doctor (Mads Mikkelsen as Johann Friedrich Struensee) fortuitously finds himself suddenly reshaping his country's (Denmark) feudal character in Nikolaj Arcel's En kongelig affære (A Royal Affair), relying heavily upon his lucid acumen to enact social democratic reforms.
But a misguided sense of permanency and an affectionate indiscretion result in his ignominious downfall.
King Christian VII (Mikkel Følsgaard) wants little to do with ruling and prefers to revel in unconditioned debauchery.
Doctor Struensee does little to disuade his ambition and the two strike up an amiable friendship, prominently acting for the good of the people.
As opportunity strikes, freedom materializes, yet its nascent state fails to consider history's quotidien counterbalance.
As dinner is served, a competitive course of cultural compositions is collusively seared, and the foundations of a revolving polemic picturesquely present themselves.
Too picturesquely perhaps.
One of En kongelig affære's principal problems is that there aren't any proactive plebeian representatives. A film boldly illustrating a crucial moment in Danish social democratic development should have likely included characters to whom said developments directly apply.
Instead they're stereotypically depicted as a mob.
It may have been too maudlin to include proactive plebeian reps but it also lacks a healthy contingent of subtle continuous economically disadvantaged background personnages which could have diversified its filmscape.
Obviously doing this continuously throughout a film is expensive and time consuming, and since En kongelig affære highlights the dangers of proceeding too quickly with social democratic reforms, perhaps this is an example of form working hand-in-hand with content.
The economic dangers are obviously real but so are the dangers of a right wing government that constantly pleads poverty (or creates an inexhaustible debt) when there is in fact of abundance of wealth, and the film examines a period which inaugurated social democratic reforms, not one where they already hold partial institutional prominence in some countries.
The King is at least cognizant of his faults and logically prefers friendship to fidelity considering his own predilections.
The film also concerns a love affair.
Don't know if I've ever seen a better example of the ridiculousness of the absolute application of ideology than when the Queen (Alicia Vikander [Denmark's Keira Knightley or Natalie Portman?]) is told to be more ladylike while giving birth.
Outstanding.
But a misguided sense of permanency and an affectionate indiscretion result in his ignominious downfall.
King Christian VII (Mikkel Følsgaard) wants little to do with ruling and prefers to revel in unconditioned debauchery.
Doctor Struensee does little to disuade his ambition and the two strike up an amiable friendship, prominently acting for the good of the people.
As opportunity strikes, freedom materializes, yet its nascent state fails to consider history's quotidien counterbalance.
As dinner is served, a competitive course of cultural compositions is collusively seared, and the foundations of a revolving polemic picturesquely present themselves.
Too picturesquely perhaps.
One of En kongelig affære's principal problems is that there aren't any proactive plebeian representatives. A film boldly illustrating a crucial moment in Danish social democratic development should have likely included characters to whom said developments directly apply.
Instead they're stereotypically depicted as a mob.
It may have been too maudlin to include proactive plebeian reps but it also lacks a healthy contingent of subtle continuous economically disadvantaged background personnages which could have diversified its filmscape.
Obviously doing this continuously throughout a film is expensive and time consuming, and since En kongelig affære highlights the dangers of proceeding too quickly with social democratic reforms, perhaps this is an example of form working hand-in-hand with content.
The economic dangers are obviously real but so are the dangers of a right wing government that constantly pleads poverty (or creates an inexhaustible debt) when there is in fact of abundance of wealth, and the film examines a period which inaugurated social democratic reforms, not one where they already hold partial institutional prominence in some countries.
The King is at least cognizant of his faults and logically prefers friendship to fidelity considering his own predilections.
The film also concerns a love affair.
Don't know if I've ever seen a better example of the ridiculousness of the absolute application of ideology than when the Queen (Alicia Vikander [Denmark's Keira Knightley or Natalie Portman?]) is told to be more ladylike while giving birth.
Outstanding.
Wednesday, January 30, 2013
Gangster Squad
Gangster Squad worked for me.
It unreels like a tight graphic novel, short critical scenes packing poignant particles of plot into pyrotechnic proclivities, action-packed definitive melodrama fetchingly refurbishing the forensics.
Films such as these often fall apart if the writer(s) hasn't taken the extra time to ensure that her or his lines often seamlessly synthesize the kitschy and the poetic, and Will Beall's script creatively accomplishes this task, no doubt with assistance from Paul Lieberman's novel, commercially perspiring the artistic.
Gangster Squad blows Not Fade Away and The Last Stand away.
The ending, while jurisprudently brandishing a brash scarred face, wasn't as electric as that from Iron Man 2, and the Squad's supporting members would have benefitted from more screen time (throughout).
They do receive plenty of screen time (throughout) and there are a bunch of supporting characters but it's more like Star Trek: The Original Series than Voyager or The Next Generation, frequently focused on leading persons.
If Django Unchained attaches a commercial dimension to the artistic, I would argue that Gangster Squad adds an artistic dimension to the commercial.
Both are hyperviolent but I likely wouldn't have noticed Gangster Squad's if it wasn't for Django Unchained.
If Sgt. John O'Mara (Josh Brolin) and Mickey Cohen (Sean Penn) were both running backs, it's tough to imagine who would pick up more yards per game.
Methinks Mr. O'Mara has the edge.
Straight up the gut.
Love how Ruben Fleischer's career is progressing.
Half way through I was hoping for some Gary Busey. Shook my head when I remembered that it co-stars Nick Nolte.
It unreels like a tight graphic novel, short critical scenes packing poignant particles of plot into pyrotechnic proclivities, action-packed definitive melodrama fetchingly refurbishing the forensics.
Films such as these often fall apart if the writer(s) hasn't taken the extra time to ensure that her or his lines often seamlessly synthesize the kitschy and the poetic, and Will Beall's script creatively accomplishes this task, no doubt with assistance from Paul Lieberman's novel, commercially perspiring the artistic.
Gangster Squad blows Not Fade Away and The Last Stand away.
The ending, while jurisprudently brandishing a brash scarred face, wasn't as electric as that from Iron Man 2, and the Squad's supporting members would have benefitted from more screen time (throughout).
They do receive plenty of screen time (throughout) and there are a bunch of supporting characters but it's more like Star Trek: The Original Series than Voyager or The Next Generation, frequently focused on leading persons.
If Django Unchained attaches a commercial dimension to the artistic, I would argue that Gangster Squad adds an artistic dimension to the commercial.
Both are hyperviolent but I likely wouldn't have noticed Gangster Squad's if it wasn't for Django Unchained.
If Sgt. John O'Mara (Josh Brolin) and Mickey Cohen (Sean Penn) were both running backs, it's tough to imagine who would pick up more yards per game.
Methinks Mr. O'Mara has the edge.
Straight up the gut.
Love how Ruben Fleischer's career is progressing.
Half way through I was hoping for some Gary Busey. Shook my head when I remembered that it co-stars Nick Nolte.
Saturday, January 26, 2013
The Last Stand
From what I can tell, the cast and crew of Jee-Woon Kim's The Last Stand had a great time making this film. It's permeated with a congenial sense of professional camaraderie no doubt galvanized by Arnold Schwarzenegger's return to the big screen.
I had a lot of fun watching it.
There's a scene where Luis Guzmán (Mike Figuerola) ballistically and kick-assedly asserts himself. The (former) Governator (Sheriff Ray Owens) squares off with villain Gabriel Cortez (Eduardo Noriega) in hand-to-hand combat in the final moments. Johnny Knoxville's (Lewis Dinkum) eccentricities are serendipitously deputized.
And there's a cameo from film legend Harry Dean Stanton.
These components congeal to corporealize an active fast-paced frenetic yet shackled free-for-all, quaintly elevating the inclusive merits of a multicultural small town.
Fun. It's fun.
If it wasn't starring the aforementioned along with Forest Whitaker (Agent John Bannister) and Peter Stormare (Burrell) it may not have been so fun, however; it may have been painful to watch through to the end.
By had a great time making this film, I mean they didn't spend enough time on the script or even bothering to use standard editing procedures (the narrative flow is truncated and uneven [it doesn't seem to be using a truncated uneven narrative flow as a device, although I suppose when Cortez's crew arrives in Sheriff Owens's small town it does disrupt the pastoral harmony]).
The film is an interesting study of improbability nevertheless and in relation to its subject matter the myriad improbabilities do function as distinct complementary bemusements (I'm thinking mostly of the bumbling antics of Agent John Bannister's contingent. The film is meant to salute the strength and integrity of small towns so it makes sense that bureaucratic agencies with vast financial resources would bumble within, but the bumbling could have been handled differently).
It's possible that if it didn't have so much starpower The Last Stand would still be remembered as an oustandingly disorganized entertaining flop.
It might still be remembered this way, and it is fun, but I think fans of Arnold Schwarzenegger films deserve better outputs, a bit more time and care spent crafting the entire film, not just the action, especially at this stage in his career.
Thought Peter Stormare put in the best performance.
I had a lot of fun watching it.
There's a scene where Luis Guzmán (Mike Figuerola) ballistically and kick-assedly asserts himself. The (former) Governator (Sheriff Ray Owens) squares off with villain Gabriel Cortez (Eduardo Noriega) in hand-to-hand combat in the final moments. Johnny Knoxville's (Lewis Dinkum) eccentricities are serendipitously deputized.
And there's a cameo from film legend Harry Dean Stanton.
These components congeal to corporealize an active fast-paced frenetic yet shackled free-for-all, quaintly elevating the inclusive merits of a multicultural small town.
Fun. It's fun.
If it wasn't starring the aforementioned along with Forest Whitaker (Agent John Bannister) and Peter Stormare (Burrell) it may not have been so fun, however; it may have been painful to watch through to the end.
By had a great time making this film, I mean they didn't spend enough time on the script or even bothering to use standard editing procedures (the narrative flow is truncated and uneven [it doesn't seem to be using a truncated uneven narrative flow as a device, although I suppose when Cortez's crew arrives in Sheriff Owens's small town it does disrupt the pastoral harmony]).
The film is an interesting study of improbability nevertheless and in relation to its subject matter the myriad improbabilities do function as distinct complementary bemusements (I'm thinking mostly of the bumbling antics of Agent John Bannister's contingent. The film is meant to salute the strength and integrity of small towns so it makes sense that bureaucratic agencies with vast financial resources would bumble within, but the bumbling could have been handled differently).
It's possible that if it didn't have so much starpower The Last Stand would still be remembered as an oustandingly disorganized entertaining flop.
It might still be remembered this way, and it is fun, but I think fans of Arnold Schwarzenegger films deserve better outputs, a bit more time and care spent crafting the entire film, not just the action, especially at this stage in his career.
Thought Peter Stormare put in the best performance.
Super Bowl Pick
Tough pick.
Both the Ravens and 49ers have played well this postseason coming up with big wins, both teams emerging victorious on the road last week. According to these stats, they've only played each other 4 times, Baltimore winning thrice, the 49ers's win going all the way back to 1996. San Francisco has played in the Super Bowl 5 times and never lost. The Ravens have never lost the Super Bowl either but have only made one appearance.
Who will come out on top?
I like the Ravens's chances and hope they'll avenge the Denver Broncos, Cincinnati Bengals, San Diego Chargers, and Miami Dolphins, AFC reps who lost to the 49ers in the Super Bowl way back when.
Should be a good game either way.
Picking Baltimore.
Both the Ravens and 49ers have played well this postseason coming up with big wins, both teams emerging victorious on the road last week. According to these stats, they've only played each other 4 times, Baltimore winning thrice, the 49ers's win going all the way back to 1996. San Francisco has played in the Super Bowl 5 times and never lost. The Ravens have never lost the Super Bowl either but have only made one appearance.
Who will come out on top?
I like the Ravens's chances and hope they'll avenge the Denver Broncos, Cincinnati Bengals, San Diego Chargers, and Miami Dolphins, AFC reps who lost to the 49ers in the Super Bowl way back when.
Should be a good game either way.
Picking Baltimore.
Friday, January 25, 2013
Il fait frette
What's this now window,
you're all frozen up,
with ice crystals flocking
your pathway's smooth flux.
Because of this lock
I must go outside
and exhale smoke at
minus 25!
Next time let's try to
coordinate
a less cumbersome chilly
recreational state.
Not that I don't mind
a breathe of fresh air,
but this weather freezingly
tends to impair.
you're all frozen up,
with ice crystals flocking
your pathway's smooth flux.
Because of this lock
I must go outside
and exhale smoke at
minus 25!
Next time let's try to
coordinate
a less cumbersome chilly
recreational state.
Not that I don't mind
a breathe of fresh air,
but this weather freezingly
tends to impair.
Wednesday, January 23, 2013
Beasts of the Southern Wild
Uncompromised unilateral implacable joy is wreathed within Benh Zeitlin's Beasts of the Southern Wild's opening celebrations, as a small community of countercultural enthusiasts gather to revel in the gift of life.
Seen through the eyes of young Hushpuppy (Quvenzhané Wallis), the festivities, and the rest of the film, transmit a youthful candour.
Qualified by directly applying extinct carnivorous didactic extracts to the forthcoming unreeling upheavals, as discoveries bearing no familiar points of tectonic reference, suddenly, present themselves.
And the resilient strength of her family and friends.
Innocently yet formidably dealing with while challenging her adventurous unpredictable shifting bohemian foundations, refusing to accept ill-considered permanent demarcations, imaginatively combatting fantastical realizations, and unyieldingly embracing the cycle of birth, death and regeneration, Hushpuppy inaugurates an icon for the free-spirited impoverished soul, and Beasts of the Southern Wild is a discursive feast for pensive humanistic diagnoses.
Beyond the state of nature.
Seen through the eyes of young Hushpuppy (Quvenzhané Wallis), the festivities, and the rest of the film, transmit a youthful candour.
Qualified by directly applying extinct carnivorous didactic extracts to the forthcoming unreeling upheavals, as discoveries bearing no familiar points of tectonic reference, suddenly, present themselves.
And the resilient strength of her family and friends.
Innocently yet formidably dealing with while challenging her adventurous unpredictable shifting bohemian foundations, refusing to accept ill-considered permanent demarcations, imaginatively combatting fantastical realizations, and unyieldingly embracing the cycle of birth, death and regeneration, Hushpuppy inaugurates an icon for the free-spirited impoverished soul, and Beasts of the Southern Wild is a discursive feast for pensive humanistic diagnoses.
Beyond the state of nature.
Sunday, January 20, 2013
Zero Dark Thirty
Accumulation. Asseveration. Evisceration.
Kathryn Bigelow's bureaucratically bitchin' tenaciously pitchin' Zero Dark Thirty nonpartisanly coordinates the clandestine predications of a resilient stalwart team.
In/directly lead by Maya (Jessica Chastain).
Militaristically maneuvering from the collection of data to the formulation of hypotheses to the execution of ideas, they uniformly act like the production of a covert thesis.
Perhaps this thesis asks, "can we successfully fabricate a concrete entertaining internationally provocative blueprint which periodically articulates anti-terrorist protocols which seem bona fide yet cleverly dissimulate each and every event that took place, apart from the lengthy ending, thereby functioning as overt espionage (and trumping Argo)?"
This question may be a bit much considering that what takes place seems to follow a logical asymmetrical pattern the fabric of which conceals/reveals both sides (as depicted in the film) regardless.
Nevertheless, even though its bravado is qualified by stats and potentialities, Zero Dark Thirty impresses practical unrelenting retributive necessities across its apolitical spectrum, collocating resourceful avatars with seductive sentiments, in a potent, charismatic, collection.
Kathryn Bigelow's bureaucratically bitchin' tenaciously pitchin' Zero Dark Thirty nonpartisanly coordinates the clandestine predications of a resilient stalwart team.
In/directly lead by Maya (Jessica Chastain).
Militaristically maneuvering from the collection of data to the formulation of hypotheses to the execution of ideas, they uniformly act like the production of a covert thesis.
Perhaps this thesis asks, "can we successfully fabricate a concrete entertaining internationally provocative blueprint which periodically articulates anti-terrorist protocols which seem bona fide yet cleverly dissimulate each and every event that took place, apart from the lengthy ending, thereby functioning as overt espionage (and trumping Argo)?"
This question may be a bit much considering that what takes place seems to follow a logical asymmetrical pattern the fabric of which conceals/reveals both sides (as depicted in the film) regardless.
Nevertheless, even though its bravado is qualified by stats and potentialities, Zero Dark Thirty impresses practical unrelenting retributive necessities across its apolitical spectrum, collocating resourceful avatars with seductive sentiments, in a potent, charismatic, collection.
Saturday, January 19, 2013
Hmm.
Seeing how the Academy of Motion Picture Arts and Sciences only nominated 9 films for best picture this year instead of 10, and The Master wasn't one of them, and Peter Bradshaw from The Guardian is suggesting that it depicts a quasi-scientology cult leader, perhaps The Master was meant to be that 10th film, but was left out due to its depiction of a quasi-scientology cult leader, and the internal turmoil that may have caused within the Academy.
Cool subject for a film 20 years from now anyways.
Seeing how the Academy of Motion Picture Arts and Sciences only nominated 9 films for best picture this year instead of 10, and The Master wasn't one of them, and Peter Bradshaw from The Guardian is suggesting that it depicts a quasi-scientology cult leader, perhaps The Master was meant to be that 10th film, but was left out due to its depiction of a quasi-scientology cult leader, and the internal turmoil that may have caused within the Academy.
Cool subject for a film 20 years from now anyways.
Friday, January 18, 2013
Amour
As an elderly couple settles into their daily routine, a crass unnoticed paradigmatic indiscretion, delivered with the same engendered clarity that may have often been a past passionate progenitor of amicable conjugal rage, is adorned by the traditional romantic reversal of fortunes, but this time they're accompanied by a direct physiological collapse, which culminates in the paralysis of Anne's (Emmanuelle Riva) left side.
Emotions run deep within husband Georges's (Jean-Louis Trintignant) struggles to rationally contain his unceasing grief.
His wits remain voluble and he's brittlely yet staunchly prepared for the logical and humanistic impairments of respective relatives and infirmières.
Attempts to ascertain one's dignity resonate as appearances must be qualified by brash benevolent exceptions.
Stoically exemplifying the lifelong dedication of a loving married couple, examining the conversational results of a relationship existing without distinct verbal limits, Michael Haneke's Amour no longer seeks to loquaciously dominate, but simply to be, to reflect, to bask, semantically dishevelling the tenants of prediction with none of the bells and whistles often used to set such scenes.
Just raw quotidian patient enduring dependent classical shock.
Still feeling the affects three hours later.
Emotions run deep within husband Georges's (Jean-Louis Trintignant) struggles to rationally contain his unceasing grief.
His wits remain voluble and he's brittlely yet staunchly prepared for the logical and humanistic impairments of respective relatives and infirmières.
Attempts to ascertain one's dignity resonate as appearances must be qualified by brash benevolent exceptions.
Stoically exemplifying the lifelong dedication of a loving married couple, examining the conversational results of a relationship existing without distinct verbal limits, Michael Haneke's Amour no longer seeks to loquaciously dominate, but simply to be, to reflect, to bask, semantically dishevelling the tenants of prediction with none of the bells and whistles often used to set such scenes.
Just raw quotidian patient enduring dependent classical shock.
Still feeling the affects three hours later.
Monday, January 14, 2013
NFL Conference Finals Picks
Some picks for this year's NFL Conference Finals games:
San Francisco 49ers/Atlanta Falcons: Atlanta pulled off a huge win in the game's dying moments yesterday afternoon and extinguished an incendiary Seahawks comeback. From what I've heard, watched and read, the 49ers dominated Green Bay and Colin Kaepernick played an outstanding game, rushing for 181 yards and passing for 263. The Falcons didn't play San Francisco during the season and their stats are comparable. It seems crucial that they contain Kaepernick to make it back to the Super Bowl, contain him without giving his receivers a clear path to the end zone. The last time they made the Conference Finals, I don't think anyone outside of Georgia thought they would beat the Vikings. But they did. This fact has little bearing on Sunday's game, but I thought I'd mention it anyway. Picking Atlanta.
Baltimore Ravens/New England Patriots: rematch of last year's AFC Conference Finals which New England struggled to win. Not happy with the Baltimore Ravens at this point in time, but I'd dislike seeing them make the Conference Finals 3 out of 5 years without ever playing in the Super Bowl afterwards. At the same time the Patriots have destroyed opponents many times this season, although Baltimore did beat them 31 to 30 in week 3. That means nothing now of course, and the Patriots have scored more than 40 points in 6 games since. Can New England's secondary defend the Ravens's striking passing game while scoring on multiple occasions against a defence fired up by Ray Lewis's upcoming retirement? I doubt Baltimore would rely on such an offensive strategy two weeks in a row, but if it keeps working, why not? Taking the Patriots. *Oh whatever, last fall, after I posted my Terminator 3 review, I went for a walk in the woods, returned to my place, and discovered like 80 redwing blackbirds cawing and croaking away. That's a huge number. Figuring this was simply a bunch of birds going about their birdly business, I thought nothing of it. But perhaps this was a sign that I should pick the Ravens in this Sunday's game. Probably shouldn't make picks based upon birds showing up after taking walks months in advance of non-related events, and redwing blackbirds aren't Ravens, but some of my friends really like corvids (redwing blackbirds aren't corvids), and it would be nice to see Falcons playing Ravens in the Super Bowl. Changing my pick to Baltimore. **Wait, wasn't redwing blackbirds, I think they were grackles. Also not of the corvid family. Makes little difference!
San Francisco 49ers/Atlanta Falcons: Atlanta pulled off a huge win in the game's dying moments yesterday afternoon and extinguished an incendiary Seahawks comeback. From what I've heard, watched and read, the 49ers dominated Green Bay and Colin Kaepernick played an outstanding game, rushing for 181 yards and passing for 263. The Falcons didn't play San Francisco during the season and their stats are comparable. It seems crucial that they contain Kaepernick to make it back to the Super Bowl, contain him without giving his receivers a clear path to the end zone. The last time they made the Conference Finals, I don't think anyone outside of Georgia thought they would beat the Vikings. But they did. This fact has little bearing on Sunday's game, but I thought I'd mention it anyway. Picking Atlanta.
Baltimore Ravens/New England Patriots: rematch of last year's AFC Conference Finals which New England struggled to win. Not happy with the Baltimore Ravens at this point in time, but I'd dislike seeing them make the Conference Finals 3 out of 5 years without ever playing in the Super Bowl afterwards. At the same time the Patriots have destroyed opponents many times this season, although Baltimore did beat them 31 to 30 in week 3. That means nothing now of course, and the Patriots have scored more than 40 points in 6 games since. Can New England's secondary defend the Ravens's striking passing game while scoring on multiple occasions against a defence fired up by Ray Lewis's upcoming retirement? I doubt Baltimore would rely on such an offensive strategy two weeks in a row, but if it keeps working, why not? Taking the Patriots. *Oh whatever, last fall, after I posted my Terminator 3 review, I went for a walk in the woods, returned to my place, and discovered like 80 redwing blackbirds cawing and croaking away. That's a huge number. Figuring this was simply a bunch of birds going about their birdly business, I thought nothing of it. But perhaps this was a sign that I should pick the Ravens in this Sunday's game. Probably shouldn't make picks based upon birds showing up after taking walks months in advance of non-related events, and redwing blackbirds aren't Ravens, but some of my friends really like corvids (redwing blackbirds aren't corvids), and it would be nice to see Falcons playing Ravens in the Super Bowl. Changing my pick to Baltimore. **Wait, wasn't redwing blackbirds, I think they were grackles. Also not of the corvid family. Makes little difference!
Sunday, January 13, 2013
Promised Land
Similar to Django Unchained inasmuch as it doesn't hold anything back, Gus Van Sant's Promised Land provides a polemical analysis of fracking (shale gas exploration), giving ample fictionalized room for proponents and critics to have their say.
Set in a struggling small town, attendantly polarizing economic privilege and historical continuity, differing relationships with land, identity, community, the film persuasively establishes prominent competing practical ideological personalities, each competently nuancing myriad aspects of the debate.
It frankly and freely conceptualizes choice and accentuates the risks associated with maintaining principled stances in opposition to enormous reserves of capital.
And allows each individual viewer to determine their own verdict.
I like taking risks.
I'll go to a casino once a year willing to part with $200 dollars. If I lose it in twenty minutes it's quite difficult to stop playing.
But I do.
I'll try new cheeses, beers, tartares, films, expressions, novels, sauces, ideas, try and predict the outcome of playoff games . . .
But water supplies are not something I like to take risks with. They are critical features of communal environmental well being.
Profits generated from fracking do enable the construction of schools etc. while decreasing a nation's dependency on natural gas imports.
But the likely resultant carcinogenic contaminations will increase medical dependencies as well, thereby placing a further strain on the public purse.
You could get lucky and the procedure may not result in any harmful environmental side effects.
If you don't, you're completely screwed for generations.
The decision seems clear to me.
Set in a struggling small town, attendantly polarizing economic privilege and historical continuity, differing relationships with land, identity, community, the film persuasively establishes prominent competing practical ideological personalities, each competently nuancing myriad aspects of the debate.
It frankly and freely conceptualizes choice and accentuates the risks associated with maintaining principled stances in opposition to enormous reserves of capital.
And allows each individual viewer to determine their own verdict.
I like taking risks.
I'll go to a casino once a year willing to part with $200 dollars. If I lose it in twenty minutes it's quite difficult to stop playing.
But I do.
I'll try new cheeses, beers, tartares, films, expressions, novels, sauces, ideas, try and predict the outcome of playoff games . . .
But water supplies are not something I like to take risks with. They are critical features of communal environmental well being.
Profits generated from fracking do enable the construction of schools etc. while decreasing a nation's dependency on natural gas imports.
But the likely resultant carcinogenic contaminations will increase medical dependencies as well, thereby placing a further strain on the public purse.
You could get lucky and the procedure may not result in any harmful environmental side effects.
If you don't, you're completely screwed for generations.
The decision seems clear to me.
Friday, January 11, 2013
Surprised The Master wasn't nominated for best picture by the Academy of Motion Picture Arts and Sciences. Not to take anything away from the films that were nominated, but The Master is also an outstanding film.
Others agree.
Thought Philip Seymour Hoffman should have been nominated for best actor rather than best supporting actor as well. What a performance.
Others agree.
Thought Philip Seymour Hoffman should have been nominated for best actor rather than best supporting actor as well. What a performance.
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