Requited residential zone
purloined penitence bemoaned
all wrapped up in scarlet letters
balance checked surreal zephyr
zeroed in on symptomatic
skies the cries refrain ecstatic
addicts televised syndromes
relax through the imbroglio's
keystoned enspiked a question dear
refastenates sequestered clear
illusions dispossessed laments
purveyed to circulate consent
incented sadists have no cure
to dominate to them is pure
and freedom's like a living hell
within which reason dares to swell.
Saturday, February 28, 2015
Friday, February 27, 2015
Paddington
Deep in the jungles of darkest Peru, a family of spectacled bears have learned to interact domestically from an adventurous British geographer, spending their time conversing in English while feasting on marmalade, science having been environmentally harmonized with their surroundings, the curious and the coddling, perching merriment's full bloom.
But tragedy strikes as an earthquake shatters their domain, and a loved one is lost, to unforgiving geologic caprice.
The youngest family member, having learned that if he arrives in London he's bound to be looked after by that very same geographer, sets out for the United Kingdom, luck and ingenuity aiding him on his way.
Upon arrival, he meets a kind family who agrees to help him, the husband, begrudgingly, the wife, hospitably, the son, ecstatically, the daughter, morosely.
Comic trials and errors then flourish, as a mystery invites sleuthing, and an evil taxidermist comes 'a callin.'
Set on vengeance and destruction.
What follows is a funny, charming, pleasantly peculiar tale of growth and discovery as a family comes together as one.
Through the power of bears.
Highlights: Paddington (Ben Wishaw) accidentally catches a pickpocket, young Judy (Madeleine Harris) learns to speak bear, whenever Paddington eats something, Mrs. Brown's (Sally Hawkins) outfits, Mrs. Bird (Julie Walters) tying one on, pigeons, baguette sandwiches, the emphasis on codes, manners, heart warmth.
The benefits of learning a Chinese dialect are also mentioned, the relations between youth and age are playfully cross-examined, creative multistep mischievous refinements abound, and there's a focus on understanding, nurtured through well being.
Paddington doesn't really look like a spectacled bear but there could be some variation within the species I'm unaware of.
And he's still young.
Costume design by Lindy Hemming.
You can still interact domestically while speaking bear.
Solid bear sounds.
Loved the alliteration.
But tragedy strikes as an earthquake shatters their domain, and a loved one is lost, to unforgiving geologic caprice.
The youngest family member, having learned that if he arrives in London he's bound to be looked after by that very same geographer, sets out for the United Kingdom, luck and ingenuity aiding him on his way.
Upon arrival, he meets a kind family who agrees to help him, the husband, begrudgingly, the wife, hospitably, the son, ecstatically, the daughter, morosely.
Comic trials and errors then flourish, as a mystery invites sleuthing, and an evil taxidermist comes 'a callin.'
Set on vengeance and destruction.
What follows is a funny, charming, pleasantly peculiar tale of growth and discovery as a family comes together as one.
Through the power of bears.
Highlights: Paddington (Ben Wishaw) accidentally catches a pickpocket, young Judy (Madeleine Harris) learns to speak bear, whenever Paddington eats something, Mrs. Brown's (Sally Hawkins) outfits, Mrs. Bird (Julie Walters) tying one on, pigeons, baguette sandwiches, the emphasis on codes, manners, heart warmth.
The benefits of learning a Chinese dialect are also mentioned, the relations between youth and age are playfully cross-examined, creative multistep mischievous refinements abound, and there's a focus on understanding, nurtured through well being.
Paddington doesn't really look like a spectacled bear but there could be some variation within the species I'm unaware of.
And he's still young.
Costume design by Lindy Hemming.
You can still interact domestically while speaking bear.
Solid bear sounds.
Loved the alliteration.
Tuesday, February 24, 2015
Jupiter Ascending
Jupiter Ascending could have been better.
It's like they're trying to condense three to four hours worth of material into a 127 minute film, and the resulting action suffers from athletic overexposure.
Everything happens too quickly.
Because they cover so much ground, they're constantly placing characters in new hyper-reactive scenarios, and rather than taking the time to calmly build-up tension while diversifying character, bam, another battle begins, whether it's physical, bureaucratic, or conjugal, and it's like the fighting never stops, yet there's no sense that something could go wrong.
Spoilers.
Okay, the film points out how millions of people, in this case entire planets, can be exploited to increase the riches of a few, in this case a plan is in place to harvest humans to create an expensive highly coveted youth serum that prolongs life indefinitely, but the film also naturalizes royalty, which indirectly suggests that royals should have access to benefits denied to their subjects, like a youth serum for instance, even if the royal in question doesn't want to have anything to do with them/it.
The bee scene is one of Jupiter Ascending's coolest moments, but it doesn't fit well with the film's ethics.
And in the end Jupiter Jones (Mila Kunis) doesn't try to use her new position to break up the intergalactic obsession with the serum, she just goes back to her old life, chillin' with the fam and new partner Caine Wise (Channing Tatum).
Who are also both cool.
It's fun watching Caine fly around on his jet boots, like he's figure skating through time and space, but he does it so often there's a cloying affect, which significantly decreases the cool factor.
The fights he's in are usually full of people hired to do things which involve firing weapons, who obviously never learned how to shoot them.
Also, when Jupiter confronts arch-rival Balem Abrasax (Eddie Redmayne) in the end, his dominion disintegrates far too quickly.
Here's one of the wealthiest people in the universe, and his defence grid seems like it's made out of lego.
A lot of corny dialogue.
Love the Wachowskis, but not Jupiter Ascending.
It's like they're trying to condense three to four hours worth of material into a 127 minute film, and the resulting action suffers from athletic overexposure.
Everything happens too quickly.
Because they cover so much ground, they're constantly placing characters in new hyper-reactive scenarios, and rather than taking the time to calmly build-up tension while diversifying character, bam, another battle begins, whether it's physical, bureaucratic, or conjugal, and it's like the fighting never stops, yet there's no sense that something could go wrong.
Spoilers.
Okay, the film points out how millions of people, in this case entire planets, can be exploited to increase the riches of a few, in this case a plan is in place to harvest humans to create an expensive highly coveted youth serum that prolongs life indefinitely, but the film also naturalizes royalty, which indirectly suggests that royals should have access to benefits denied to their subjects, like a youth serum for instance, even if the royal in question doesn't want to have anything to do with them/it.
The bee scene is one of Jupiter Ascending's coolest moments, but it doesn't fit well with the film's ethics.
And in the end Jupiter Jones (Mila Kunis) doesn't try to use her new position to break up the intergalactic obsession with the serum, she just goes back to her old life, chillin' with the fam and new partner Caine Wise (Channing Tatum).
Who are also both cool.
It's fun watching Caine fly around on his jet boots, like he's figure skating through time and space, but he does it so often there's a cloying affect, which significantly decreases the cool factor.
The fights he's in are usually full of people hired to do things which involve firing weapons, who obviously never learned how to shoot them.
Also, when Jupiter confronts arch-rival Balem Abrasax (Eddie Redmayne) in the end, his dominion disintegrates far too quickly.
Here's one of the wealthiest people in the universe, and his defence grid seems like it's made out of lego.
A lot of corny dialogue.
Love the Wachowskis, but not Jupiter Ascending.
Saturday, February 21, 2015
Coleslaw
The skillet's sacrosanct incision
tendered with deluxe precision
parted parched entrenched revived
a choral dill smoked meat on rye
alive the drenched reprieved sensation
fascinated tastes condensed in
confiscated subterfuge
spiked and slight mercantile dues
imbued indecent neat and tidy
packs the switch exhale politely
courtesy infused the sands
contacted sandwiched contraband
in hand a bite delicious rhythms
zesty bold nutritious prisms
luminescent seeds to scatter,
toil to customize each platter.
Chomp chomp.
tendered with deluxe precision
parted parched entrenched revived
a choral dill smoked meat on rye
alive the drenched reprieved sensation
fascinated tastes condensed in
confiscated subterfuge
spiked and slight mercantile dues
imbued indecent neat and tidy
packs the switch exhale politely
courtesy infused the sands
contacted sandwiched contraband
in hand a bite delicious rhythms
zesty bold nutritious prisms
luminescent seeds to scatter,
toil to customize each platter.
Chomp chomp.
Friday, February 20, 2015
2015 Oscar Picks
Actor in a Leading Role: Eddie Redmayne, The Theory of Everything
Actress in a Leading Role: Julianne Moore, Still Alice
Actor in a Supporting Role: J.K. Simmons, Whiplash
Actress in a Supporting Role: Emma Stone, Birdman: or (The Unexpected Virtue of Ignorance)
Cinematography: Emmanuel Lubezki, Birdman
Film Editing: Barney Pilling, The Grand Budapest Hotel
Makeup and Hairstyling: Frances Hannon and Mark Coulier, The Grand Budapest Hotel
Production Design: Adam Stockhausen (Production Design); Anna Pinnock (Set Decoration), The Grand Budapest Hotel
Short Film - Animated: Robert Kondo and Dice Tsutsumi, The Dam Keeper
Short Film - Live Action: Mat Kirkby and James Lucas, The Phone Call
Visual Effects: Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher, Interstellar
Writing - Adapted Screenplay: Paul Thomas Anderson, Inherent Vice
Writing - Original Screenplay: Wes Anderson (Screenplay), Wes Anderson & Hugo Guinness (Story), The Grand Budapest Hotel
Directing: Alejandro G. Iñárritu, Birdman
Best Picture: Alejandro G. Iñárritu, John Lesher, and James W. Skotchdopole, Birdman
Actress in a Leading Role: Julianne Moore, Still Alice
Actor in a Supporting Role: J.K. Simmons, Whiplash
Actress in a Supporting Role: Emma Stone, Birdman: or (The Unexpected Virtue of Ignorance)
Cinematography: Emmanuel Lubezki, Birdman
Film Editing: Barney Pilling, The Grand Budapest Hotel
Makeup and Hairstyling: Frances Hannon and Mark Coulier, The Grand Budapest Hotel
Production Design: Adam Stockhausen (Production Design); Anna Pinnock (Set Decoration), The Grand Budapest Hotel
Short Film - Animated: Robert Kondo and Dice Tsutsumi, The Dam Keeper
Short Film - Live Action: Mat Kirkby and James Lucas, The Phone Call
Visual Effects: Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher, Interstellar
Writing - Adapted Screenplay: Paul Thomas Anderson, Inherent Vice
Writing - Original Screenplay: Wes Anderson (Screenplay), Wes Anderson & Hugo Guinness (Story), The Grand Budapest Hotel
Directing: Alejandro G. Iñárritu, Birdman
Best Picture: Alejandro G. Iñárritu, John Lesher, and James W. Skotchdopole, Birdman
Leviafan (Leviathan)
Isolated in a small town in Northern Russia, a man fights to save his home from a corrupt mayor, relying on an oligarchically inclined legal system, and a lawyer skilled in the art of public sensation.
He's lived his whole life in the town.
Grew up there, became a family man, it's all he knows.
He has personality, responsibilities, a network.
Remote plutocratic politics.
A voice, legal rights, Andrey Zvyagintsev's take on contemporary Russia, Leviafan (Leviathan), like the skeleton of a massive destructive unstoppable procession, religion sans spirituality, futile to fight back, take the offer, drink, drink more, from one historical epoch to the next, take reprehensible thugs and give them wealth, prestige and power, hold them in place with the threat of imprisonment, they'll do as they're told, don't find a middle ground between what things were like before and after the 1917 revolution, recreate the system that lead to that revolution, bask in its imperialistic splendour, lock things down for a generation, flaunt your might, and see what Hobbes gets you.
Trust was placed where trust was deserved, its betrayal ripe with spontaneous idiocy, 10 blissful minutes for the bored, a maximum security sentence for the innocent.
Innocence requires innocence.
Angelic quid pro quo.
The act provides the mayor with leverage, a solid footing, authority.
Opulent construction.
In the gently falling snow.
He's lived his whole life in the town.
Grew up there, became a family man, it's all he knows.
He has personality, responsibilities, a network.
Remote plutocratic politics.
A voice, legal rights, Andrey Zvyagintsev's take on contemporary Russia, Leviafan (Leviathan), like the skeleton of a massive destructive unstoppable procession, religion sans spirituality, futile to fight back, take the offer, drink, drink more, from one historical epoch to the next, take reprehensible thugs and give them wealth, prestige and power, hold them in place with the threat of imprisonment, they'll do as they're told, don't find a middle ground between what things were like before and after the 1917 revolution, recreate the system that lead to that revolution, bask in its imperialistic splendour, lock things down for a generation, flaunt your might, and see what Hobbes gets you.
Trust was placed where trust was deserved, its betrayal ripe with spontaneous idiocy, 10 blissful minutes for the bored, a maximum security sentence for the innocent.
Innocence requires innocence.
Angelic quid pro quo.
The act provides the mayor with leverage, a solid footing, authority.
Opulent construction.
In the gently falling snow.
Tuesday, February 17, 2015
Timbuktu
Law and order is ridiculously applied to the daily lives of Timbuktu's inhabitants, a city in Mali, and a film by Abderrahmane Sissako, a brutal unforgiving violent accentuation of a fruitless interpretation of Islamic texts, interpreted to profit those in power, regardless of what the texts actually say.
Alternative voices emphasizing Islam's focus on understanding and forgiveness express themselves but are immediately ignored due to their lack of influence.
It's men with guns, large and in charge, unconcerned with their lack of knowledge, severely punishing anyone who breaks their arbitrary laws.
Much more direct than Leviafan.
Musicians performing privately at night face the whip even though they're singing about God.
Women who don't wear gloves and socks are penalized.
A man who sees a girl and wants to marry her is fully supported when the girl's family objects to his inappropriate conduct.
Soccer is frowned upon.
Tough times if you aren't part of the ruling minority.
No opportunities.
No growth.
No music.
Make things as boring and lifeless as possible to maximize and inculcate your barren conception of reality.
This is how the rulers proceed.
Heavily armed.
With constant surveillance.
It's men with guns, large and in charge, unconcerned with their lack of knowledge, severely punishing anyone who breaks their arbitrary laws.
Much more direct than Leviafan.
Musicians performing privately at night face the whip even though they're singing about God.
Women who don't wear gloves and socks are penalized.
A man who sees a girl and wants to marry her is fully supported when the girl's family objects to his inappropriate conduct.
Soccer is frowned upon.
Tough times if you aren't part of the ruling minority.
No opportunities.
No growth.
No music.
Make things as boring and lifeless as possible to maximize and inculcate your barren conception of reality.
This is how the rulers proceed.
Heavily armed.
With constant surveillance.
Saturday, February 14, 2015
Bifrösty
Satin sure fire sheering 'centric
certified exotic zenscient
sapphired strolls she soars today
like solar shy absorbing gazed
ascension whispers starlight's sorrow
interstellar tracks the charcoal
cherished paths enlightened thronged
vermilion terrraces anon
parlay piquante she's turned the corner
sprightly shifts the pace the warmer
rays create in retrospect
a trail of stardust's poised princess.
Diphthonged.
certified exotic zenscient
sapphired strolls she soars today
like solar shy absorbing gazed
ascension whispers starlight's sorrow
interstellar tracks the charcoal
cherished paths enlightened thronged
vermilion terrraces anon
parlay piquante she's turned the corner
sprightly shifts the pace the warmer
rays create in retrospect
a trail of stardust's poised princess.
Diphthonged.
Friday, February 13, 2015
Kiş Uykusu (Winter Sleep)
Prolonged drowsy interminable winter, dilemmas and debts and rigid bitter realism, frozen immovable remote reverberations soundlessly echoing through time like omnipresent gallows for some, casual laissez-faire cocktails for others, a small town in Anatolia, a consciousness of place, order, balance, predictability, the insertion of divergence, glacially counterbalanced, from whichever side, whatever predicament, interred for the ages, contradiction's fertile sum, punishment to reward, thoughts eloquently marooned, the snow is falling, confiscated tempests, every point will be made, an old man wandering blindly, his dominion staggeringly glazed, fissured, crumply.
When challenged he preaches.
He has done no wrong.
According to his will, which vainly asserts his blights.
Proven through the narrative's conception.
Of unyielding irrational control.
The darkness of men's souls.
To say, "Be a man at all costs. In a domain ruled by men."
There's a powerful scene, epic in its isolated rustic nocturnal candour, which expresses the rationalities of these mad oppressive entitlements.
Wait for it.
Viewing, it's like you're in the village, present at these conversations, living these lives, freezing, because of their patient plodding conversions.
Thinking.
Finding things to do.
When challenged he preaches.
He has done no wrong.
According to his will, which vainly asserts his blights.
Proven through the narrative's conception.
Of unyielding irrational control.
The darkness of men's souls.
To say, "Be a man at all costs. In a domain ruled by men."
There's a powerful scene, epic in its isolated rustic nocturnal candour, which expresses the rationalities of these mad oppressive entitlements.
Wait for it.
Viewing, it's like you're in the village, present at these conversations, living these lives, freezing, because of their patient plodding conversions.
Thinking.
Finding things to do.
Tuesday, February 10, 2015
A Most Violent Year
Patience, hard work, and skill, transferrable knowledge calmly and efficiently presented, threats, competitive thefts assaulting bottom lines, disrupting morale and distribution, fermenting internal disputes, fear and uncertainty corrupting the working day, factions, a lawsuit, thugs, insert stoicism, by the books, leadership, an impenetrable reliance on a sense of fair play cultivated through years of shrewd progressive expansion relied upon during its darkest yet most definitive hour, revenue streams collapsing, worst case options relied upon, an unwavering commitment to the law, like Michael Corleone, if he had started from scractch.
Law and order.
Concealment.
As Abel Morales's (Oscar Isaac) business expands, his competitors employ desperate tactics, their livelihoods threatened, pathological pyrosthetics.
A Most Violent Year resists the urge to fight back.
It keeps a level head.
Distinguishing itself from other films in the genre.
It was odd watching it, I kept waiting for the eruption, the countermeasures, the explosion of pent up rage, disastrous regimens of revenge.
But its aesthetic honours goodwill as opposed to vindication, composure rather than frenzy, its blueprints shackling threats of reprisal, steady assured confidence, in the methods that have ensured success.
It's like the feeling you get when you work hard for something, enjoy the rewards, stay true to a vision, accept professional challenges, and continue to modestly achieve.
Like graduating from high school or being promoted.
Staying in business for decades.
Thoughtful innovations.
Law and order.
Concealment.
As Abel Morales's (Oscar Isaac) business expands, his competitors employ desperate tactics, their livelihoods threatened, pathological pyrosthetics.
A Most Violent Year resists the urge to fight back.
It keeps a level head.
Distinguishing itself from other films in the genre.
It was odd watching it, I kept waiting for the eruption, the countermeasures, the explosion of pent up rage, disastrous regimens of revenge.
But its aesthetic honours goodwill as opposed to vindication, composure rather than frenzy, its blueprints shackling threats of reprisal, steady assured confidence, in the methods that have ensured success.
It's like the feeling you get when you work hard for something, enjoy the rewards, stay true to a vision, accept professional challenges, and continue to modestly achieve.
Like graduating from high school or being promoted.
Staying in business for decades.
Thoughtful innovations.
Saturday, February 7, 2015
Carouspell
Pursuant impressed by Jove algebra
coarse manifest poise invest la dee da
clot for the plot ties the knot courtly crew
pin-dropped poinsettias Alouette's miscue
adorns the forlorn with lavish bright brows
strings siphoning tautly swing like enclosed
jived jouncy wise bounties percolating
succulent nectars inconsequent flings.
coarse manifest poise invest la dee da
clot for the plot ties the knot courtly crew
pin-dropped poinsettias Alouette's miscue
adorns the forlorn with lavish bright brows
strings siphoning tautly swing like enclosed
jived jouncy wise bounties percolating
succulent nectars inconsequent flings.
Friday, February 6, 2015
Wild
One foot forward, a crushing weight backpacked, stricken through the desert, identity intact.
To the summit.
Waves of energizing and/or haunting memories intermittently bombarding and/or enlivening, accomplishments, missteps, experimental independence mixed with overwhelming grief dealt with through taking on a herculean quest for conscious convalescence, reestablished resilience, contemporary being flushing out the destructive life choices made after the death of a loved one, and their corresponding affects on friends and family, a path with a goal and a purpose, the Pacific Crest Trail, blistering heat and instructive elevations, gear, wildlife, companionship, the impossible slowly dispersing picturesque probabilities, a new sense of self, persevering in the hearth throes.
Emerging.
Jean-Marc Vallée's Wild sets out into the wilderness to build a future by confronting the past, through presence, chillingly capturing subconscious correlations, raw elemental exacting births.
She's tough.
Cheryl Strayed (Reese Witherspoon) improvises her way with sheer grit and determination, poetically driving her will, its valleys and peaks, a subtly directed incarnation.
Editing by Martin Pensa and Jean-Marc Vallée as John Mac McMurphy.
Live in the world while focusing on the beautiful.
Posture outfox and sidewind.
Overcome.
To the summit.
Waves of energizing and/or haunting memories intermittently bombarding and/or enlivening, accomplishments, missteps, experimental independence mixed with overwhelming grief dealt with through taking on a herculean quest for conscious convalescence, reestablished resilience, contemporary being flushing out the destructive life choices made after the death of a loved one, and their corresponding affects on friends and family, a path with a goal and a purpose, the Pacific Crest Trail, blistering heat and instructive elevations, gear, wildlife, companionship, the impossible slowly dispersing picturesque probabilities, a new sense of self, persevering in the hearth throes.
Emerging.
Jean-Marc Vallée's Wild sets out into the wilderness to build a future by confronting the past, through presence, chillingly capturing subconscious correlations, raw elemental exacting births.
She's tough.
Cheryl Strayed (Reese Witherspoon) improvises her way with sheer grit and determination, poetically driving her will, its valleys and peaks, a subtly directed incarnation.
Editing by Martin Pensa and Jean-Marc Vallée as John Mac McMurphy.
Live in the world while focusing on the beautiful.
Posture outfox and sidewind.
Overcome.
Tuesday, February 3, 2015
Still Alice
A high-functioning established warm caring multifaceted professional is confronted at the height of her career with the onset of Alzheimer's disease, and its effects quickly take hold.
She's a fighter, accomplished and strategic, boldly doctoring her plight, taking things in stride, coping, achieving, her family coming to her aid to help out wherever they can, together functioning as a cohesive unit, through strength, distress and helplessness increasing as time passes, slowly transforming into stoic acceptance, the acknowledgement of pain.
Still Alice maturely approaches illness from fruitful familial viewpoints, Alice Howland's (Julianne Moore) husband and children supporting while suffering to do what they can.
Julianne Moore delivers a career defining performance as she pluralizes her conception of identity, stunningly adding varicose variabilities.
There's a great scene where her new self communicates with a predecessor via a preprepared homemade video, a buoyant succinct butterfly.
Her alpha husband (Alec Baldwin as John Howland) convincing juggles his urge to dominate with his expressions of sympathy, respected by Alice through understanding, his attempts to hide his frustrated emotions callously manifested at times.
He has trouble halting his progression.
The children react as befits their personalities, aptly introduced through the art of conversation, the daughters featuring more prominently than the son.
The family's love holds back its depression although it could have been more sorrowful.
Hope in the darkness.
In tune.
She's a fighter, accomplished and strategic, boldly doctoring her plight, taking things in stride, coping, achieving, her family coming to her aid to help out wherever they can, together functioning as a cohesive unit, through strength, distress and helplessness increasing as time passes, slowly transforming into stoic acceptance, the acknowledgement of pain.
Still Alice maturely approaches illness from fruitful familial viewpoints, Alice Howland's (Julianne Moore) husband and children supporting while suffering to do what they can.
Julianne Moore delivers a career defining performance as she pluralizes her conception of identity, stunningly adding varicose variabilities.
There's a great scene where her new self communicates with a predecessor via a preprepared homemade video, a buoyant succinct butterfly.
Her alpha husband (Alec Baldwin as John Howland) convincing juggles his urge to dominate with his expressions of sympathy, respected by Alice through understanding, his attempts to hide his frustrated emotions callously manifested at times.
He has trouble halting his progression.
The children react as befits their personalities, aptly introduced through the art of conversation, the daughters featuring more prominently than the son.
The family's love holds back its depression although it could have been more sorrowful.
Hope in the darkness.
In tune.
Saturday, January 31, 2015
Hexoteric
The odds state perspicacity
implies a willingness to freely
circumvent constrained conditions
in each risk a feigned fruition.
implies a willingness to freely
circumvent constrained conditions
in each risk a feigned fruition.
Friday, January 30, 2015
Escobar: Paradise Lost
The tranquilities of a peaceful life living on a beach teaching surfing unexpectedly mutate in Andrea Di Stefano's Escobar: Paradise Lost, as love magnetically draws a couple together, and a Canadian romantic is suddenly thrust into the world of cocaine exportation.
Tectonic shifts.
Alternative outputs.
The couple is quite young and Nick (Josh Hutcherson) somewhat ill-prepared for his newfound corruptly honourable daily transactions, their relationship fervid and flourishing, his responsibilities, a discombobulating mind fuck.
Kingpin Pablo Escobar (Benicio del Toro) takes religion quite seriously.
He distributes wealth to the people.
He takes care of friends and family.
Requiring strict obedience.
And no nonsense.
The film embraces its haunting naive blossoming recourse to sound polarized youthful degeneration with multidimensional popularized efficiency, almost tumbling off a cliff, the established and the entrepreneur coming together as family, age inspecting its curious new fledgling, love securely blanketing the stage.
The crimes.
A chilling if not formulaic examination of familial stress and stipulated largesse, competing ethical constabularies cauterized in political inflammations.
Nick is forced to adapt as the authorities move in and Escobar downsizes.
To fight back.
To survive.
Solid career move for Hutcherson.
Tectonic shifts.
Alternative outputs.
The couple is quite young and Nick (Josh Hutcherson) somewhat ill-prepared for his newfound corruptly honourable daily transactions, their relationship fervid and flourishing, his responsibilities, a discombobulating mind fuck.
Kingpin Pablo Escobar (Benicio del Toro) takes religion quite seriously.
He distributes wealth to the people.
He takes care of friends and family.
Requiring strict obedience.
And no nonsense.
The film embraces its haunting naive blossoming recourse to sound polarized youthful degeneration with multidimensional popularized efficiency, almost tumbling off a cliff, the established and the entrepreneur coming together as family, age inspecting its curious new fledgling, love securely blanketing the stage.
The crimes.
A chilling if not formulaic examination of familial stress and stipulated largesse, competing ethical constabularies cauterized in political inflammations.
Nick is forced to adapt as the authorities move in and Escobar downsizes.
To fight back.
To survive.
Solid career move for Hutcherson.
Thursday, January 29, 2015
Super Bowl Pick
New England Patriots/Seattle Seahawks: controversy surrounds this year's Super Bowl as the Patriots find themselves embroiled in scandal. Did they deflate the footballs they used to defeat the Colts in the AFC Championship Game, and even if they did, does it matter?, Andrew Luck still only completed 12 passes for 126 yards, and it seems probable that New England would have scored at least 10 even if they had been using regulation footballs. If they're found guilty there should be an enormous fine, but either way, that game's over, and Seattle didn't have to cheat to win. Not that the Patriots cheated to win. Green Bay should have defeated the Seahawks but Russell Wilson pulled a Tim Tebow to ensure victory for his team. His defence helped out a bit. Seattle turned the ball over 5 times and Green Bay could only score 22 points, and even if Wilson has another bad game, I doubt New England will be given so many extra opportunities to score. Green Bay's offence scored more points than New England's during the regular season and still were stymied versus the Seahawks. But could Brady lose the Super Bowl 3 times after winning it 3 times? This seems unlikely. I should pick the defensive team. I usually don't and am often wrong. It seemed that New England was poised to defeat the Giants both times they played them in the Super Bowl, and this year it seems that Seattle is poised to defeat the Patriots. Perhaps Seattle destroys them. I'm still picking New England.
Tuesday, January 27, 2015
American Sniper
Clint Eastwood's American Sniper is about soldiers.
It's not about politics or asking questions, it's about the people who risked their lives fighting for a cause they believed in, incendiary polemics aside, they were on the ground, fighting an enemy intent on killing them, living through events that would haunt the survivors for the rest of their lives, experiential extracurricular extents, forging bonds through action, teams, through combat.
It's focused on one sniper in particular, Navy SEAL Chris Kyle (Bradley Cooper), with a gift for precision, an eye for detail.
He becomes a legend.
A part of a team, embracing his role as protector, he saves the lives of his fellow recruits time and time again, through vigilance and dedication, making decisions no one should have to make, accepting the consequences, psychologically covering up the outcomes.
Civilian life becomes difficult.
He leaves unfinished business in Iraq, a nemesis at large, who continues to hunt his compatriots, this unnerves him as he tries to live with his family, überconscious conscience, the fall out of his exceptional track record.
Which leads to an exciting Young Guns sequence.
A compelling cinematic interpretation of levelheaded battlegrounded hysteria.
Direct, straightforward, and to the point, while mixing in enough trauma to unsettlingly exfoliate, American Sniper brings together eclectic teams, unified through bitter shattering circumstances.
What actually took place is fictionalized to the point where it makes a strong war film, however, this aspect of its creation makes what actually took place seem fictional, which takes away from its realistic impacts.
But it still salutes the life of a great Navy SEAL who went beyond the call of duty and risked everything to do what he believed was right, individuality within the collective, cohesively functioning as one.
Made the most of the worst possible situation.
Persevered.
It's not about politics or asking questions, it's about the people who risked their lives fighting for a cause they believed in, incendiary polemics aside, they were on the ground, fighting an enemy intent on killing them, living through events that would haunt the survivors for the rest of their lives, experiential extracurricular extents, forging bonds through action, teams, through combat.
It's focused on one sniper in particular, Navy SEAL Chris Kyle (Bradley Cooper), with a gift for precision, an eye for detail.
He becomes a legend.
A part of a team, embracing his role as protector, he saves the lives of his fellow recruits time and time again, through vigilance and dedication, making decisions no one should have to make, accepting the consequences, psychologically covering up the outcomes.
Civilian life becomes difficult.
He leaves unfinished business in Iraq, a nemesis at large, who continues to hunt his compatriots, this unnerves him as he tries to live with his family, überconscious conscience, the fall out of his exceptional track record.
Which leads to an exciting Young Guns sequence.
A compelling cinematic interpretation of levelheaded battlegrounded hysteria.
Direct, straightforward, and to the point, while mixing in enough trauma to unsettlingly exfoliate, American Sniper brings together eclectic teams, unified through bitter shattering circumstances.
What actually took place is fictionalized to the point where it makes a strong war film, however, this aspect of its creation makes what actually took place seem fictional, which takes away from its realistic impacts.
But it still salutes the life of a great Navy SEAL who went beyond the call of duty and risked everything to do what he believed was right, individuality within the collective, cohesively functioning as one.
Made the most of the worst possible situation.
Persevered.
Saturday, January 24, 2015
Shanty
Close robust in-flux encounters
cellular seductive pounce per
chillion churns diverse shock aid
instructive inverse understated
braved indebted bare exchange
language lounging lisps arcanely
twittering like sentient bonds
enwhispered vettings thriving spawned
containment coriandicon
insatient saunter Alderaan
come on pronounce it like a chic
seraphic scorched envirostreaked
retention reticently spiced
puréed insignias advice
sufficed my stutter struts to sway
in sights which strum hushed palisades
Allayed.
cellular seductive pounce per
chillion churns diverse shock aid
instructive inverse understated
braved indebted bare exchange
language lounging lisps arcanely
twittering like sentient bonds
enwhispered vettings thriving spawned
containment coriandicon
insatient saunter Alderaan
come on pronounce it like a chic
seraphic scorched envirostreaked
retention reticently spiced
puréed insignias advice
sufficed my stutter struts to sway
in sights which strum hushed palisades
Allayed.
Friday, January 23, 2015
Whiplash
Worst case scenario.
From my point of view anyways.
The drill sergeant teacher, militaristic jazz, believing that greatness can be cultivated using cruel ruthless humiliating tactics which psychologically destroy while potentially diversifying.
If you can take it.
If you don't break down as he viciously insults you and contentedly rips you to shreds.
This guy's brutal, a true Full Metal Jacket.
Thoroughly versed in the dark side, he finds an historical example where callous pedagogical shocks produce skills beyond exception, and then tries to recreate the soul crushing circumstances which harshly brought about the virtuosities, not taking into account the uniqueness of the situation, the educational, demographic, individual, historical, and social characteristics at play, difference exploited as a means to oppress rather than a factor to be conceptualized, music isn't war, you're trying to elevate not conquer, you have to push to succeed but you can push without pulverizing, excel without collapsing, although there are people who need the drill sergeant, I simply never understood why.
Was lucky in school. Never ran into teachers like this. I can't function in such environments, just shut down and suffer, can barely think.
Long time since I've been in one.
Whiplash is about a young drummer attending Shaffer Conservatory who is given the opportunity to play in their premier ensemble, and chooses to find a way to become part of its core.
The teacher uses despicable methods which lead to improvements but his heavy hand is too much for the 19 year-old to take.
Bad decisions.
Pushed too hard.
He does excel though and is given the chance to say fuck rather than thank you eventually.
A well-casted examination of emotionally disturbing teaching methods and their outcomes, Whiplash's unquestionable villain sacrifices balance for beatification.
Hoping to nurture sheer brilliance.
Clucking malevolently in the abyss.
From my point of view anyways.
The drill sergeant teacher, militaristic jazz, believing that greatness can be cultivated using cruel ruthless humiliating tactics which psychologically destroy while potentially diversifying.
If you can take it.
If you don't break down as he viciously insults you and contentedly rips you to shreds.
This guy's brutal, a true Full Metal Jacket.
Thoroughly versed in the dark side, he finds an historical example where callous pedagogical shocks produce skills beyond exception, and then tries to recreate the soul crushing circumstances which harshly brought about the virtuosities, not taking into account the uniqueness of the situation, the educational, demographic, individual, historical, and social characteristics at play, difference exploited as a means to oppress rather than a factor to be conceptualized, music isn't war, you're trying to elevate not conquer, you have to push to succeed but you can push without pulverizing, excel without collapsing, although there are people who need the drill sergeant, I simply never understood why.
Was lucky in school. Never ran into teachers like this. I can't function in such environments, just shut down and suffer, can barely think.
Long time since I've been in one.
Whiplash is about a young drummer attending Shaffer Conservatory who is given the opportunity to play in their premier ensemble, and chooses to find a way to become part of its core.
The teacher uses despicable methods which lead to improvements but his heavy hand is too much for the 19 year-old to take.
Bad decisions.
Pushed too hard.
He does excel though and is given the chance to say fuck rather than thank you eventually.
A well-casted examination of emotionally disturbing teaching methods and their outcomes, Whiplash's unquestionable villain sacrifices balance for beatification.
Hoping to nurture sheer brilliance.
Clucking malevolently in the abyss.
Tuesday, January 20, 2015
Selma
Slow moving change.
Sometimes change does move too slowly.
Sometimes mind-bogglingly frustrating bureaucratic 'efficiencies' prevent the advancement of basic civil rights, in Selma's case, the right for African American citizens to vote in the States, in the Southern States, in the 1960s, Alabama particularly.
They have the legal right to vote, but the caucasian population who controls the voter registry comes up with ridiculous loophole after ridiculous loophole to prevent them from actually voting, to make seeking the right to vote seem debased and futile, insert various humiliations.
Obviously this is unacceptable, and leaders emerge to change things, not twenty years from now, but in the near future, Martin Luther King Jr. (David Oyelowo) actively advocating for peaceful non-violent change, for peaceful non-violent dignity.
Selma's best moments feature King in action, delivering powerful speeches which motivate his listeners, debating strategy with his fellow activists, discussing tactics with his devoted wife Coretta (Carmen Ejogo), or holding firm to his principles when upholding them with President Lyndon B. Johnson (Tom Wilkinson).
His goals are immediate and necessary, making compromise an untenable option.
The film presents a basic opposition between progress and stagnation, those standing by the status quo appearing backwards and simplistic, those hungering for change, thoughtful and brave.
Johnson's character does change after the violence reaches outrageous heights and the protests continue.
It's still going on.
In light of the Ferguson tragedy, and several other recent disillusioning American tragedies which have deeply affected African American communities, Selma historicizes the present, to encourage an impregnable sense of unity.
There should be accountability when unarmed people are shot dead.
It doesn't have to be about white versus black, it can be about different groups working communally to forge strong integrated multidimensional secularly spiritual pluralities, strength in diversity, acculturating as one.
It's about simple acts of kindness and the acceptance of alternative points of view.
If the U.S. is the most advanced country in the world, why does it still have these problems?
Why are they persisting?
Generation after generation.
Sometimes change does move too slowly.
Sometimes mind-bogglingly frustrating bureaucratic 'efficiencies' prevent the advancement of basic civil rights, in Selma's case, the right for African American citizens to vote in the States, in the Southern States, in the 1960s, Alabama particularly.
They have the legal right to vote, but the caucasian population who controls the voter registry comes up with ridiculous loophole after ridiculous loophole to prevent them from actually voting, to make seeking the right to vote seem debased and futile, insert various humiliations.
Obviously this is unacceptable, and leaders emerge to change things, not twenty years from now, but in the near future, Martin Luther King Jr. (David Oyelowo) actively advocating for peaceful non-violent change, for peaceful non-violent dignity.
Selma's best moments feature King in action, delivering powerful speeches which motivate his listeners, debating strategy with his fellow activists, discussing tactics with his devoted wife Coretta (Carmen Ejogo), or holding firm to his principles when upholding them with President Lyndon B. Johnson (Tom Wilkinson).
His goals are immediate and necessary, making compromise an untenable option.
The film presents a basic opposition between progress and stagnation, those standing by the status quo appearing backwards and simplistic, those hungering for change, thoughtful and brave.
Johnson's character does change after the violence reaches outrageous heights and the protests continue.
It's still going on.
In light of the Ferguson tragedy, and several other recent disillusioning American tragedies which have deeply affected African American communities, Selma historicizes the present, to encourage an impregnable sense of unity.
There should be accountability when unarmed people are shot dead.
It doesn't have to be about white versus black, it can be about different groups working communally to forge strong integrated multidimensional secularly spiritual pluralities, strength in diversity, acculturating as one.
It's about simple acts of kindness and the acceptance of alternative points of view.
If the U.S. is the most advanced country in the world, why does it still have these problems?
Why are they persisting?
Generation after generation.
Saturday, January 17, 2015
Perplexicon
Static starchy crispy cling
bursts of fresh air pitch and swing
styled sporadic seesaw stretches
splurged to pester prized perspectives
harnessing the dyed eclectic
polar shy renewed collective
drafts denoting ties concise
hovering like jived precisely
buzzing blistering bezoned
interpretistic chromosomes
winds blown and blowing who's to say
what trapezed twist entwirls today?
Forecasted.
bursts of fresh air pitch and swing
styled sporadic seesaw stretches
splurged to pester prized perspectives
harnessing the dyed eclectic
polar shy renewed collective
drafts denoting ties concise
hovering like jived precisely
buzzing blistering bezoned
interpretistic chromosomes
winds blown and blowing who's to say
what trapezed twist entwirls today?
Forecasted.
Friday, January 16, 2015
Inherent Vice
Blistering pronounced enigmatic athleticism, neat and tidy obscurity, a question asked, a question, answered, competing forms of non-traditional rationalities searching for clues within a down and dirty faceless salute to comic cerebral lechery, with role playing, familiarity, pop-ups, explanations, free form investigative hallucinogenic heartache, golden plunders, an error, bows and arrows, cameolot, freewheeling receptive improvised incognitos, purpose, demand, facts and fictions fused to fornicate, to love, the ether, groundless fluctuating intuitive forward motion, possessed, indecisive, a partnership, sympathy, acquiring a foothold, intransigent brawn, a narrator's clarifications, grinding and gone.
Far gone.
It seems that America's great directors must now hear the call of the The Big Lebowski's pastiche of The Big Sleep to make misguided judgment hedonistically live again.
Insert pot smoke into the underground world of high-stakes narcotic reality.
Remain calm.
React.
It's more about potential and theory, ideas, than plot, although the plot is astounding.
Difficult to say if the events depicted are actually taking place or simply expiring in an exposed hemorrhaged zig-zagged amphetamine.
I didn't see any evidence for this however.
The cast reminded me of that which you often find in feel good comedies, Eric Roberts (Michael Z. Wolfmann) filling in for Sam J. Jones or Billy Idol.
Martin Short's (Dr. Rudy Blatnoyd, D.D.S.) still got it.
I'm buying some absinthe.
Far gone.
It seems that America's great directors must now hear the call of the The Big Lebowski's pastiche of The Big Sleep to make misguided judgment hedonistically live again.
Insert pot smoke into the underground world of high-stakes narcotic reality.
Remain calm.
React.
It's more about potential and theory, ideas, than plot, although the plot is astounding.
Difficult to say if the events depicted are actually taking place or simply expiring in an exposed hemorrhaged zig-zagged amphetamine.
I didn't see any evidence for this however.
The cast reminded me of that which you often find in feel good comedies, Eric Roberts (Michael Z. Wolfmann) filling in for Sam J. Jones or Billy Idol.
Martin Short's (Dr. Rudy Blatnoyd, D.D.S.) still got it.
I'm buying some absinthe.
Thursday, January 15, 2015
NFL Conference Championships Picks
Green Bay Packers/Seattle Seahawks: damn it. I always take the Pack. They're always good enough to take. They're solid this year having racked up 486 points during the regular season, winning 12 games, and beating Dallas at home last weekend (on a controversial call [that was the best playoff catch I've seen in years {they may have still won the game had Dallas scored a touchdown}]). They can beat Seattle if they move the ball but the Seahawks are good at figuring out ways to shut down high-powered offences and know how to keep the lead once they've gained it. Rodgers is one of the best. If he has one of his best games, Green Bay can win. Wilson may not play well either, but, so far, he seems built for the playoffs and generally takes on crucial game changing hysterics without even breaking a sweat. Seattle's offence scored 394 points during the regular season and their team has won 7 in a row. Can the Packers run the ball? Can the Packers continuously pick up third downs to keep the ball in their possession? They can do this. But I'm still picking Seattle. Hoping the Pack wins, picking the Seahawks. *Hold on. Went downtown yesterday to watch Whiplash and I only saw 2 people wearing NFL gear, both wearing tuques, one, a New England Patriots tuque, the other, a Green Bay Packers tuque. At the risk of sounding ridiculous, I'm switching my pick to Green Bay. Go Packers Go. - updated on Jan. 16th/2015
Indianapolis Colts/New England Patriots: a potential changing of the guard in this one. If Andrew Luck can beat Brady as well, the Brady/Manning era may be coming to an end. Both Dalton and Manning didn't play well versus Indianapolis, but neither quarterback has had much success in the playoffs. Did they both just have another bad playoff game, or did the Colts's defence figure out a way to ensure that they did? Brady was impressive last weekend. He's been impressive all season. 468 points for the Patriots during their first 16, and they quickly came back from being down 14 twice last weekend. They were down 14 twice though, and if Luck plays as well as Flacco did, and Indianapolis's defence continues to shine, the Colts can win, even if they were crushed at Gillette Stadium in the playoffs last year. I was surprised Baltimore didn't win last weekend honestly after seeing the Patriots abandon their running game altogether. They only ran for 14 yards. I figured it would be easy to shut down a team who's passing on every play, especially if you're winning by 14, for the second time, but they didn't, New England's offence is that good. Can they play that well two weeks in a row? Can Indianapolis shut down the Patriots's running game with as much efficiency as the Ravens did? Who knows honestly. But New England's playing at home. They had a bad game last week and still won. They beat the Colts 42-20 earlier on in the year. I think they'll beat the Colts again after scoring early and often, giving Luck too much of a deficit to overcome. Maybe he'll play like he did versus Kansas City last year in the playoffs. That would be amazing. Picking New England.
Indianapolis Colts/New England Patriots: a potential changing of the guard in this one. If Andrew Luck can beat Brady as well, the Brady/Manning era may be coming to an end. Both Dalton and Manning didn't play well versus Indianapolis, but neither quarterback has had much success in the playoffs. Did they both just have another bad playoff game, or did the Colts's defence figure out a way to ensure that they did? Brady was impressive last weekend. He's been impressive all season. 468 points for the Patriots during their first 16, and they quickly came back from being down 14 twice last weekend. They were down 14 twice though, and if Luck plays as well as Flacco did, and Indianapolis's defence continues to shine, the Colts can win, even if they were crushed at Gillette Stadium in the playoffs last year. I was surprised Baltimore didn't win last weekend honestly after seeing the Patriots abandon their running game altogether. They only ran for 14 yards. I figured it would be easy to shut down a team who's passing on every play, especially if you're winning by 14, for the second time, but they didn't, New England's offence is that good. Can they play that well two weeks in a row? Can Indianapolis shut down the Patriots's running game with as much efficiency as the Ravens did? Who knows honestly. But New England's playing at home. They had a bad game last week and still won. They beat the Colts 42-20 earlier on in the year. I think they'll beat the Colts again after scoring early and often, giving Luck too much of a deficit to overcome. Maybe he'll play like he did versus Kansas City last year in the playoffs. That would be amazing. Picking New England.
Tuesday, January 13, 2015
The Imitation Game
A mind unlike any other, with an idea, a vision, confidently clad in driven unyielding pertinence, searing arrogant genius, applied to teamwork, to working as a team, to theorize, to crack codes, to imagine an immaculately mechanized gaseous maelstrom, sucking in cyphers then spitting out circumstances, World War II's oppressing destruction caught in its construct like visceral vacuumed variability, results producing tactics which serve to plan, to strategize daily essential outputs affecting lives and the people who live them, the soul crushing realities of life and death logic, covertly consensualized, as spiralling boisterous bedlam.
To suffer in ecstasy.
And win the war.
The Imitation Game celebrates unprecedented advances in theoretical practicalities, adding humanistic plights to the achievement of goals, balance and structure within the hierarchy, competing authoritative conceptions, managing the exceptional's zeal.
Creation's credibility.
Love's unacknowledged blush.
It's about a brilliant mathematician who creates an apparatus that cracks Nazi Germany's enigma machine.
Beyond tragedy, what eventually takes place, difficult to think that so many incredible leaps forward have been squashed in their infancy by culturally accepted prejudices, suffocatingly husking hopes and dreams.
Futures.
From Black Bear Pictures.
To suffer in ecstasy.
And win the war.
The Imitation Game celebrates unprecedented advances in theoretical practicalities, adding humanistic plights to the achievement of goals, balance and structure within the hierarchy, competing authoritative conceptions, managing the exceptional's zeal.
Creation's credibility.
Love's unacknowledged blush.
It's about a brilliant mathematician who creates an apparatus that cracks Nazi Germany's enigma machine.
Beyond tragedy, what eventually takes place, difficult to think that so many incredible leaps forward have been squashed in their infancy by culturally accepted prejudices, suffocatingly husking hopes and dreams.
Futures.
From Black Bear Pictures.
Subscribe to:
Posts (Atom)