Influenced by social media?

Tango & Cash

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

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

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

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

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

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

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

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

The force reluctant to rearrest them.

At least for 48 hours.

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

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

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

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

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

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

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

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

Calisthenic Computation.

Just got caught in a rainstorm.

Soaked to the bone.

And lovin' it!

Snarl

Interrogative rendition

sudden agile exposition

screech and scrunch sashay then scamper

nesting nautical decantered

innate inhibition shyly

outmaneuvering beguiling

temperamental surges plots

determinate defence unshocked

unwavering alight attrition

step by step juxtaposition

calm forthright eclectic poise

the bursts of unrestrainéd joy

the graceful bold undaunted swerve

the bellicose impacting nerve

habitual symphonic sundry

practical alignments grumpy

grizzlies.

Love & Monsters

As a giant asteroid heads towards Earth, international consensus launches a strike, of hundreds of volatile nuclear missals, which mange to chaotically get 'er done.

But unfortunately the fallout from the explosions leads to extreme environmental disaster, as tiny insects see exponential growth, and proceed to take out most of humanity.

The survivors live in isolated communities kept in close contact through radio, able to survive and gather food on the surface as long as they can avoid the inveterate beasties.

Joel Dawson (Dylan O'Brien) lives with a tight-knit community resiliently composed through extracurricular agency, but he's generally critiqued by his fellow survivalists for lacking determined battle hardened wherewithal.

But he still adventurously dreams of love lost in the bitter apocalypse, and is able to contact his cherished love interest through old school tenderized trusted technologies. 

Tired of having no opportunity to prove himself, he decides to head out to meet her (Jessica Henwick as Aimee), the distance daunting the quest calamitous, resources scanty, awareness, lacking.

But to dream is to resonate spirit ethereally expanding through limitless boundaries, and Joel possesses indomitable daring romantically synergizing illustrious l'amour.

Naturally, she's moved on when he reaches her but it was still worth the herculean effort.

Which taught him to cultivate courage.

And randomly reflex and improvise.

A dramatic tale comedically denoting sci-fi love in a time a horror, Love & Monsters champions reveries within localized epic congress.

The foolish flourish, ferment, and flounder, yet still matriculate through honest endeavour, trials tantalizing friendship impressed with neither recollection nor spastic endurance.

I suppose if at one time you have billions of insects and then perhaps millions of them mutate to gigantic proportions, their numbers may drastically decrease in the aftermath, if they also take on the reproductive rates of lions or tigers.

But would reproductive rates have been effected, wouldn't the abundant gigantic insects reproduce at such a rate that the Earth's bountiful resources would be consumed in less than a fortnight?

Perhaps not, there's not much data to go on, but fortunately forests remain in tact, and even if humanity's scattered and demoralized, there's still communication and interactive hope.

Joel's an understanding protagonist who can go with or direct the flow.

Encouraged by trial and error.

Seeds of resolute calm. 

Random procedure. Innate inspiration. Emergent patterns. Jocose juxtaposition. 

Choice presented, decision made. 

Joyeux Jean-Baptiste!

Québec, Australia.

Can't wait to pick up a Blizzard. 

The Year of Living Dangerously

Arriving within the tantalizing unknown with no contacts and resolute viability, working within unfamiliar parameters exhilarating recourse refined animation.

The ambiguous reflexes of the bold indeterminate fluidly encouraging resilient jazz rhythms, inordinate pluck and lithe tenacity generate immersion beyond expression.

Mr. Hamilton (Mel Gibson) finds himself far from Australia working his first assignment as a foreign correspondent, with no contacts and a relative lack of sympathy locking down conducive facilitated succession. 

Fortunately compassionate reason curiously materializes from the opaque outset, and an integrated ethicist possessing spry fluencies lends a hand and quizzical quarter (Linda Hunt as Billy Kwan). 

Hamilton is able at least to write about something after the interviews he cleverly conducts, but he's arrived at a pivotal moment in local history wherein which intriguing narratives harrowingly instigate.

By no means shy, he pursues the lead with undaunted gripping paramount resolve. 

Risking both life and flourishing love interest (Sigourney Weaver as Jill Bryant). 

To discover impeccable headlines. 

Tough to say where the cynosure harkens with the most consequent influential reckoning, if it's not Montréal, New York, or Denver, it's slipped past my residual wanderings.

Why one location would ever be so prominent in a multifaceted international continuum?, makes less sense to me than the lateral alternative expanding networks exponential variability.

But if you like where you're living it certainly seems as if it embodies practical universalization, especially if such considerations concern it in the least and it could care less about generalized pertinence. 

At times it seems it would be wonderful to simply stay on the island forever.

If you didn't know people elsewhere.

Or have thrilling engagements at times beyond borders.

That sense is captured in The Year of Living Dangerously which makes its environs seem cataclysmically irresistible, as so many films set in specific locations do, future research compelling forthcoming.

The enticing poise of the unfamiliar subtly celebrated like vital novelty.

I finally saw this film.

Linda Hunt doesn't disappoint. 

Influenced by television?

I suppose pop culture's like a religious antitrust, and vice versa. 

Suede

Intermittently occasioned 

disproportionately blatant

orbital environs lightly

quizzical confinements slightly

visual verbatim viscous

unindoctrinated witness 

terrapin tortue torrential

lithe aquatic girth potential

portals pathways navigation

shellicose infatuation 

flippers fluid fervid fortunes

imprecise quadrants coordinates

filled up to the foamy brim

a 5 à 7 a soulful swim

dig in the festive filibuster

vaccinated mirthful musters 

dijon. 

Crocodile Dundee II

Back at it.

Livin' the cosmopolitan crescendo with carefree commitment and resonant calm, his bucolic mannerisms and coy misunderstandings an immersive backwoods buoyant imbroglio (Paul Hogan as Crocodile Dundee). 

His wife continues reporting interrogatively investigating fiction and fact (Linda Kozlowski as Sue Charlton), while enjoying the comforts of bold unpredictable youthful regenerative domesticity. 

But she was married once before and her daring ex-husband has taken perilous photographs (Dennis Boutsikaris as Bob Tanner), of a blunt unforgiving cacophonous execution overflowing with diabolical intrigue. 

He fears for his life and sends her the photos but their destination is soon intercepted, the ne'er-do-wells following them to bustling New York where they engage in flagrant kidnapping.

Crocodile soon learns of his wife's disappearance and comes up with a plan to facilitate rescue, enlisting the aid of a local network of free-wheeling chillaxed non-traditional peeps.

Their unorthodox plan is indeed a success but Dundee doesn't trust the witness relocation program.

And heads with his wife to the hospitable outback.

To range and rustle secluded down under.

A delicate blend of the grim and the gossamer mischievously materializes at ease within the film, as a lighthearted spirit prone to adventurous reckoning reconciles wisdom with resolute tact.

Indigenous knowledge inviolable custom effortlessly guides his freeform endeavours, nature encyclopedically grasped and authenticated through active study and lively application.

The script's logic may perhaps raise questions regarding the plausibility of a detail here and there, the kidnappers pursuit perhaps rather foolhardy considering their destination and incomprehension.

It isn't really that concerned with probability or likelihood however, just that you love the rugged Crocodile as he interacts and explores in different environs.

He is a fascinating character and well-worth checking out if you're unfamiliar. His films were incredibly popular in my youth and I still love watching them to this day.

Traditional gender roles are even creatively deconstructed as Mick discovers urban flexibility, and adapts to the equanimous rhythms of multifaceted abstract economies. 

There's remarkable bush in the wilds of Québec and Canada as well, but I don't recall ever seeing a rural/urban divide ever examined so respectfully in a homegrown film.

Lots of potential there anyways.

Building bridges.

Can't wait to see more of Québec. 

With Charles S. Dutton (Leroy Brown), Kenneth Welsh (Brannigan), Stephen Root (DEA Agent), John Meillon (Walter Reilly), Steve Rackman (Donk), Gerry Skilton (Nugget), and Maggie Blinco (Ida). 

Hopefully it's time to play What's the Best Restaurant? soon (as vaccinations continue to proceed).

One of my favourite unanswerable questions. 

Perhaps the secret to incorporeality has something to do with light.

Diner

A group of tight-knit childhood friends gather together during the Holiday Season, real world responsibilities clashing with rambunctious innocence, as traditional character flamboyantly illustrates, and habitual boredom is resolutely challenged.

Robert Sheftell (Mickey Rourke) overflows with appealing audacity which local residents find irresistible, apart from the bookies with whom he makes bets, without the requisite cash to cover them.

William Howard (Tim Daly) is considering a Masters but his old school sweetheart's pregnant (Kathryn Dowling as Barbara), and has a career of her own, and doesn't want to get married.

Edward Simmons (Steve Guttenberg) isn't as scholastically endowed, but will agree to get married, if his partner can pass his prick of a football test, what a fan, what a disgraceful romantic.

Laurence Schreiber (Daniel Stern) can't find things to talk about with his wife (Ellen Barkin as Beth Schreiber) and critiques her disregard for his record collection, still finding it more entertaining to chill out with his friends, selling TVs by day, doing whatever by night.

Timothy Fenwick Jr. (Kevin Bacon) can't grow up either although he's less responsibly attached or attuned, his older brother thinking he's up to no good, his unorthodox shenanigans proving his point.

They're chillin' in the same neighbourhood where they grew up, their plans hatched in a popular local diner.

Where eccentrics and stock characters alike.

Frequent the tastes of 1950s America.

Diner celebrates young adult antics as they reckon with cultural codes, innate desires to persevere carefree encountering disorienting sober perplexities. 

It's a classic case of trying to find something to do when everything's been done and what's left you mistrust, emerging from teenage triumph and adolescent angst to discern discrepancy with bewildered consequence.

Fortunately bucolic history and reliable community observe and interact, mistakes forgiven impulses soothed hypotheses tested ridiculousness nurtured. 

The limits tightening although not without friendly moments of clarity and avuncular understanding.

It's pretty strait-laced peeps striving to create with the domains of family, church, and football, rebellious instincts paradigmatically ensconced within nightly news broadcasts and 9 to 5 days.

Not without its charm through its general relevance to volatile small town/suburban life.

Boredom boxed, mischief manifested.

Resilient friendship.

Fries and gravy.  

Learning a new language is a lot like sports, but you're playing all the time. 

Instead of practicing for a while every week and then playing an opposing team, you practice during the week and then have to play while you're buying groceries etc., i.e., all the time.

It's super intense!

Cheese sauce.

Cinnamon

Expeditiously unmentioned

brave adventurous suspension

delicately striding forth

through panoramically distorted

lithe renditions birds-eye views

necessitous hububaloos

appearing aerodyne partout

with puttering piqued parchutes

the swifter picturesque pinpoint

harmonious verdant conjoints

unfactored microscopic 'mergin'

apropos synoptic splurgin'

patiently they take it in

perhaps at times risking a spin

the curious convergent sights

prepared for metamorphic flight

distillin'

The Wizard

An autistic youth struggling to comprehend the sudden passing of his twin sister, buckles down and heads out on the road (Luke Edwards as Jimmy Woods), both sets of parents rather unsettled by his departure, he's swiftly located, and brought back home.

It's a pattern, so he heads out again this time with the aid of an older brother (Fred Savage as Corey Woods), who doesn't want to see him committed to a psychiatric institution which is where he would have wound up.

The two travel unfettered undisciplined until they reach an accommodating bus station, where they meet Haley (Jenny Lewis) who's on her way home and discover Jimmy has a knack for video games.

Not just a knack, he's exceptionally talented, so much so that Haley suggests they head to Los Angeles, and enter the "Video Armageddon" competition taking place a few days away.

But they're being tracked by two separate sleuths one a father and brother team (Beau Bridges as Sam Woods and Christian Slater as Nick Woods respectively), the other a slimy weaselly reptilian eager to make a quick opportune buck (Will Seltzer as Mr. Putnam). 

Jimmy may have a natural gift for video game playing but he's still unfamiliar with many exemplars, so Corey and Haley take him to "Nintendo School" so he can practice, prepare, and prognosticate. 

Will they reach their sought after destination in time for the vigorous showdown, or will parental responsibility assert immobile lockdown?

Families split on how to proceed.

Competing diagnoses clashing best practices. 

The Wizard imagines adventurous purpose to pursue quizzical unorthodox therapy, ie., rather than place the child who keeps wandering away in therapy, why not try to find out where he's going?

Their trip could have more closely resembled a video game in its resilient collegial questing, insofar as a more calamitous test of endurance would have been more reminiscent of something like Zelda.

But it's lighthearted and free and easy less concerned with hardship or tribulation, not that obstacles don't present themselves, they're just not so intense and at times rather comic.

If you love video games I reckon The Wizard may provide ample lackadaisical endearment, as several characters including Jimmy's father embrace unheralded electronic inspiration.

The games focused upon may perhaps provide historical import as well, an examination of ye olde old school to function as an instructive comparison.

I never made it very far with video games myself, I just didn't see the point after I reached a certain age.

I've missed out on quite a lot of conversation consequently.

And the occasional not-so-subtle reference.

Nice to see Peyton Manning will soon be in the NFL Pro Football Hall of Fame.

Broncos!

Wouldn't Xanadu be like chillin' in a library with million of items, plus access to the complete Criterion and iTunes film collections?

Outcast

A ruler seeks a less combative way to cultivate his culture's destiny, and denies the throne to his first born son, who flourishes amidst rage and conflict.

But the studious son he chooses is not well-versed in the vicissitudes of intrigue (Bill Su Jiahang as Prince Zhao), and even though he has been chosen, he must flee to avoid his brother's wrath (Andy On as Prince Shing). 

The ruler passes, his heartfelt wishes bluntly ignored and traditionally outweighed, but as coincidence or fate would have it, his vision finds an honourable adherent. 

For a lone warrior ruined by the crusades is randomly wandering his vast kingdom (Hayden Christensen as Jacob), in search of potent spiritual redemption, lost in drink and purposeless posture. 

He senses injustice and agrees to defend the literary lad along with his devout sister (Yifei Liu as Princess Lian), who are trying to reach the wilds beyond a far off mountain, where they believe they'll indeed be safe.

But his brother's minions pursue them everywhere and they're soon betrayed by those they trust, the lone warrior fortunately formidable gallantly gifted focused resolute. 

But he's haunted by ghastly past lives that left him doubtful and woebegone.

The doubts challenged through stern conviction.

Independent freelance, robustly trained.

Outcast presents insurmountable odds disputing courtesy, tact, and diplomacy, as the intellectual spirit yearns for transformation, in an epoch plagued by war.

If I remember details from a Chinese history course I took way back correctly, China generally focused on its own well-being in the past. It was rarely imperialistically disposed and tended to concentrate on its own enlightenment. 

They were so certain of their civilization that when barbarians came to plunder, they had no need to defeat them militaristically, preferring to wait for their culture to win them over (a process called "sinification").

Thus, I tend not to take theories which suggest China is seeking to colonially express itself seriously.

Why would they focus primarily on themselves for millennia and then suddenly embark on crusades? It makes more sense to wait for the world to change than risk losses in some disastrous conflict.

Further, after centuries of woe they've finally reasserted themselves as a preeminent culture.

Why would they risk all that for a bit of land?

When they're already so blessed with so much diversity back home?

Outcast postulates redemption through a noble act unbidden and unrewarded, compensation driven through active spirit, the vigorous rapport of a peaceful life.

I imagine China's much more concerned with peace based upon the learned hypotheses shared by well-read teachers.

What's to be gained from a grandiose conflict?

That they don't picturesquely possess already?

With Nicolas Cage (Gallain). 

I vaguely remembered it.

But it never would have occurred to me.

I'm shocked and appalled by the mass grave found near the Kamloops residential school.

It's hard to imagine that something so horrible could have happened in Canada, so many lives lost, so many families torn asunder.