WITCH Perspective?

Strangely, the three (3) films watched have a bottom line. At least Russovoir thinks so. This is the complexity, simplicity, universality, specialty, comfort, inconvenience, human, and nonhuman nature of love. Kudos to the MTRCB (Movie and Television Review and Classification Board) for consciously or unconsciously adhering to the "love month".

Love is Compassion.

"I don't hold equality in all things, just equality before the law."

Lincoln is easily a national favorite; a manifestation of the well-recorded, persistent as it is worthwhile to be reminded of, the righteousness of President Abraham Lincoln. Three (3) hours went by so quickly that how must the editing be so professional to keep the audience absorbed, lost in the thick forests of Lincoln's beard. Riveting and inspiring, Russovoir is lately in questionable urgency to sign up for the military services of the United States of America. 

Steven Spielberg is easily a national favorite; a manifestation of masterful craftsmanship. He can make a foreign entity belong on this earth, in fact, revered. Oh wait, he's had: E.T. the Extra-Terrestrial (1982), Jurassic Park (1993), War of the Worlds (2005). Spielberg's filmography, Russovoir notices, has always been serious business; films with so much weight, it's become an expectation of him. And so far, disappointment is merely Artificial Intelligence: AI (2001).

Twelve (12) nominations at the 85th Academy Awards, it's an amendment in the constitution of our refined taste in films to watch Lincoln.

"Buzzards' guts, man!"

Love is Sacrifice.

Right off the bat, Beautiful Creatures is brilliant! Up until now, it's always been the woman who's human and the man with supernatural origin, that which the woman fancies, and the man obviously cannot stand up to the impossible challenge - we cannot watch a woman sleep and tell them how peaceful they look because, we sleep too. Always the man has the leverage, that special feature that separates them from other men by which competition is only limited against another supernatural. The Twilight Saga is beautiful, Russovoir doesn't mean to mislead, it's just that, it's always a delight to be acquainted with something new, in a different angle; this time, in favor of men.

A woman is a witch (technically, a castor), and the man is no more human than the mundanity of where he lives. Excitingly, Ethan Wate (Alden Ehrenreich) is no more interesting than the books he reads, his southern accent, his sense of humor - in short, just being himself. All men will benefit from his character, Russovoir supposes. The only thing attractive about his character that draws women to fancy, and this time it's doable (but usually it's more of an attitude), is his tenacity for a woman. It's frankly what kept the film going, really.

"You are not going dark and you're not losing me!"

A revealing perspective of existing yet unrealized human attributes from [an] entity/entities closer, yet not similar to a human being, and although while Lena Duchannes (Alice Englert) is of the supernatural, and in ominous dilemma to latterly understand, it's a bewitching reminder to us, the audience (maybe for some, otherwise).

Powerful, not solely because it involves witches, Beautiful Creatures is appropriately titled. Humans and witches are not too far different. Okay, maybe just in each other. But hey, opposites attract, yes? Yes.

Love is Lust.

Predominantly annoyed, Russovoir basks in the consolation that Anna Karenina is a circa 1870 novel that which explained the overused story line. Diane Lane's Unfaithful (2002) comes into mind as invasive as what medical or psychological disease Anna Karenina (Keira Knightley) has. Yet what's bothering Russovoir is for the same reason it's a circa 1870 novel. One would think society has become what it is now because of degenerating subtleties from mediums not invented then. We, well for some of us at least, now understand that the carnal desire - daresay cravings - is as old as time. Had the cavemen had a pen and paper, one precocious savage would've written Uuuuoahhle (Cravewoman).

Cinematography, the necessary distraction from bitch Anna's PMSing, is experimentally artful. Costume design was stunningly lavish as to be curious and imagine how much time do they spend on undressing. Surely enough time for Anna to think really carefully of what she's brought herself into. And what's bothering Russovoir - aggravatingly! - was that someone had readily and lovingly took responsibility of her mess, then she goes on spilling her blood on the floor. Define madness.

"I was feeding off your love."

Let me ask, my chaste reader, is it worth it to ruin a turning decade of marriage for the desire of the flesh? A turning decade of marriage conceived in the eyes of God, bonded once so strongly with the birth and raising of a child? Suppose all things being equal that both men could provide anything one's heart's desire, which has more weight?

"You don't ask why in love."

The problem with Aaron Johnson (Count Vronsky) is: nothing. Russovoir knows, well, discretion aside, Johnson is only the perfect, as to be convincing, actor for the role because he embodies the character in real life. Depending on your level of patronage, a scattered few of us know that he's married (and going strong) to 45-year old, English filmmaker Sam Taylor-Wood. The chap's only 22. In college, he's classified as a cougar hunter; in high school a stud; in elementary - what, you didn't know? - we have a word for that too - pedophilia.

Kidding aside, Aaron Johnson is a unique actor and should only be in unique roles of which Kick Ass (2010) is not one of them. Russovoir basks in the consolation that he simply wanted to experiment on his quirky side; it worked, Kick Ass had positive reviews; he earned nominations. Yet no money in the world can change how Russovoir sees him. He's like Colin Firth (The King's Speech, 2010): an actor whose roles are of considerable value that anyone than him in his films is unimaginable. Exhibit A: Angus, Thongs, and Perfect Snogging (2008).