Movie Recommendation Time: Geography Club.

Geography Club, at first, one would realize, wow that's funnily curious, it's almost an affected, nostalgic, liking reference to The Breakfast Club (1985). They must've done it on purpose because while the posters (below) are two pancakes in a teflon pan, it's an effective eye catcher. The Breakfast Club is arguably the long-standing timeless classic about high school cliques (funny how that transcends to our very own lives); the discovery of self; the boldness, burden, and blithe of being different; and the opaqueness of which that when crossed creates tension that begins the story.

  

Geography Club at first impression was thought to be the same. Russovoir had never been wrong. Granted the synopsis (where was its trailer?) alludes a purging self-to-self conflict prevalent, oppressing, and pressing issue of recent times, just like how each of the kids in The Breakfast Club then had their own fetters, the film has five (5) personalities alright, but it revolves in one theme. 

"Hey, no one's judging you."

Russovoir won't be that guy telling you its theme; he's never had and never will. What he can tell you is Geography Club adapted itself in hopes of idealizing the society on hand; a society, if not for films like this, deteriorating and prejudiced encroaching. This is Disney's Lemonade Mouth (2011) but there isn't a group of musically-inclined troublemakers, lemonade-in-a-canholics forming a band; however, what the film is trying to accomplish is to tone down what was for a long time loud. Especially every last week of June with this pride.

Heroes. He Rose. Heal rows.

That feeling. That feeling that you inexplicably and suddenly had had the civilian responsibility, on which you're convinced that if you hadn't done so who would, in this brief moment, spur of the moment of looking out for each other; we can be heroes in our own little ways after all - "Is that tub of popcorn trash? Let me get that for you."

You do this because what you have witnessed, the true story of four (4) US Navy SEALs, including those who tried to rescue them, brings to the front and center the nature, crucial nature of what and who to protect, that is ideally everyone, whatever color and racial origin. The little gesture is a thank you to those whom we can still do this.

"Suck. It. Up. You're a fucking frogman!"

Lone Survivor is one of the many films that raises the flag of America in us; land of the free and home of the brave. Truly powerful, awing words in the national anthem indelible and imponderable (that which you needn't to be in the military, to have to go to war to be deemed 'brave'; hence bravery is imponderable). Besides the point, however, those who have served the country and are serving the country could've might as well ensnared an American eagle, plucked one of its majestic plumage, dipped it into their own self-induced slit arm, and finally have, although while painful it too is an act of sheer commitment, written the Star-Spangled Banner onto a surface with their own blood.

"If I die, tell my wife I love her."

Emotions were a minefield: one for Hirsch, one for Kitsch, Foster (above), Bana, and Ludwig. Each is uniquely designed to explode with a unique repercussion in both the mind and body, and ultimately the soul. And they didn't go off in one succession either, no sir. Russovoir had wished it had been the case, to save chronic fit of vicarious suffering; so it would've been just a big, isolated pain. It was, however, as uniquely designed each is, specially a physical strain, incremental at a sporadic. US Navy SEAL Marcus Luttrell, the last man standing - lone survivor, as if the whole operation had had been a Hunger Games for the purpose of full disclosure should one decides to join, sure he and his men failed Operation Red Wings, not that it wasn't a big deal nor we wanted it to happen, but it happened, and the silver lining here is, and Russovoir shamefully admits it was once a shot in the dark, funny how God finally casts a light on this matter through one man's tale, that not all of Afghanistan is barren.

Marcus Luttrell and Mohammed Gulab. Pashtunwali.

  

iTouchment With a OSmeone.

One minute there's connection, another lost it. Dang it, the restarting is the hardest part. Her seems to have made it literally a wireless fidelity (wifi). And just like it, at maybe a cheap motel or an overcrowded Starbucks during which everyone conveniently has their laptops running, the wifi of the plot is a patient progress.

"It's as if you needed oxygen. You're an operating system."

As the audience, much like a man with a purpose with a laptop at a wifi hotspot, you stay because it is at least working; it takes an effect on you than nothing at all. Suppose one is used to have a faster broadband that where one is, what one is experiencing is simply, weird. Because the film was, undeniably and, frankly, for it fell off the cliff where the box was situated - that's how 'outside-the-box' it is, ridiculous. Stay with Russovoir, it gets better.

"I love how you see the world."

Novelty. That's what and why Her is as undeniably, a stunner. As if painstaking in costume design and production value; the deviant, soothing color fusion to where should be a futuristic setting, of supposedly delicate white and chrome. Where we have been daunted by past futuristic films of the downside, the harm of technological advancement: Terminator (1984), I, Robot (2004), Surrogates (2009); the dystopic condition much of which was caused by moral deterioration and neglect: The Island (2005), In Time (2011),  Elysium (2013); and the overused alien/virus invasion: I Am Legend (2007), The Darkest Hour (2011), Battleship (2012), the premise of Spike Jonze, director and the writer of Her, was definitely a pleasant relief and comfort.

And of course, moreover, Joaquin Phoenix (above) with his patriarchal mustache and sensitive, melancholic psyche as Theodore Twombly, where even the name is soft and cuddly, was what was imperious in Gladiator (2007) accentuated by his 'battle scar' cleft lip, made over a king, disrobed of self-regard and ambition, many instances in the film has Russovoir's thumbs up. No shiny crown, rather leaves one a tiny frown.