Because Constellations find Kindred Stars.

There is so much pain and suffering in The Impossible that the keyboard feels like square-shaped thumbtacks piercing through the fingers; brain aggravated from the sharp debris of intensely painful scenes that the film was unforgiving of. What happened nine (9) years ago felt like it happened a week, a month back. It doesn't normally come off surprising anymore that Hollywood produces cutting-edge CGI (computer-generated imagery) effects, but one, let alone Russovoir, can't help it because, as it always been, the film takes Russovoir to the exact time and place it happened. Writing a review about it, you see, is like being a survivor of the tragedy and still have to pass a paper of what you did last summer on the first day of school. But the focus is simple, and less hurting; in fact, it's humbling, comforting, encouraging, and oh my god, are these tears damping the keyboard.

"Mom, mom, I'm scared."

The relief of finding, it's unlike any other. It has been shown in several scenes, almost concentrated in one place. The focus, again, is simple: Family is everything. The Bennetts lost everything they own, well, everything that they packed for the trip, was washed away, in the tsunami. But what make us human is not our attachment to material things than our attachment to kindred stars that form our constellation; those who make us become something, become someone to the eyes of others. Those people keep us afloat, buoyant with love.

"Lucaaaaaaaaas!"

Pure, and if only we can drink her performance to make us half as talented as she is, Naomi Watts absorbs us to her pain, her, despite ill-fated physical condition, human and motherly compassion. The recently categorized comedy film 2012 (2009), despite its mostly fabricated influence, sincerely taught us that we lose the separating characteristic of humanity if we do not try to help others in need. This is why Lucas Bennett (Tom Holland) was a refreshing drink in a hot summer day. As far as how their true story goes, how effective the film appealed to human emotions, and moreover just exercising being British, Lucas didn't think about himself, composed and collected because "Keep Calm and Carry On" maxim, he was a vessel of compassion.

The Impossible is taking in a lot (destruction, suffering, and loss) but towards the end, on the verge of choking, you find yourself quenched by your own tears in relief, catching your breath, because a family, as far as their happy ending is concerned, can keep theirs.

Takes your brea-HATHAWAY.

Now who has supersonic hearing to understand every word of every stanza of every song one, a duet, or a group sing as the film plays? Unless, obviously, if you're a devotee of the lot, a composer of/along such field, and maybe even by a stroke of unfathomable inspiration, you managed to buy the album and listen in quenching solace. What rings true and relevant to you simply, intuitively resonates.

Les Miserables, you have to take into account, is an 1862 novel. One hundred fifty (150) years old and still revered. Let that sink in first. Credit Victor Hugo. His works are the many very examples of timeless classics. We welcome them at its mintest condition because they are the rawest, purest, and highest human understanding at a time where human understanding is limited and untapped. While we commend the innovators of today, we resurrect the pioneers of yesterday.

The only problem is, while its feathered pen by which they were written with scream original workmanship, the changing times has had inkless computers. The young generation has evolved significantly over the years, over the one hundred fifty years to be exact, that the attention span is as all-encompassing as a cat chasing a red light.

Russovoir grew up with this generation. As much as he wants to completely like the film - cinematography, obviously, is a natural exemption - there are only specific scenes thought stood out echoing.

"To love someone is to see the face of God."

Elephant in the kitchen, does Russell Crowe honestly have any experience, let alone taught, in the musical department? Among the distinguished celebrities, he was the least riveting. He wasn't appealing at all. There must be a tacit and widely practiced method on lip movement to compliment, encourage, and persuade facial expressions from which draw the vicarious emotions. Crowe, instead, drew boredom and annoyance. Stiff and almost, deadpan. Gladiator (2000) phenomena came off unne-ceasar-ry. Other than him, in their specific, favored scenes, Anne Hathaway and Hugh Jackman, Amanda Seyfried and Eddie Redmayne, were the spine of the story, while ossifying Russovoir's, as they sing in an almost palpable execution. To explain further how well they did is futile because they, simply, take one's brea-hathaway.

PI - iety like a French Swimming Pool.

It is very difficult to have a say on a film near perfection. One has to be almost omniscient. Sadly Russovoir is not. He's all about the aesthetics of the cinema, the spontaneity of the roles of the actors, and if he's had a good day, its impact to oneself that's probably shared with a good plenty like-minded. Life of Pi, regardless, there's a thin ice that can be cracked, just enough not to fall in gibberish as to an unassuming understanding by skimming the surface.

Cinematography, is awful. Damn, Russovoir can't even say that with a straight face. Of course, the cinematography is in-curry-dible. Boredom is like nailing water on a tree. Besides the originality of the story, from which interest is refreshing and pure, there is hydration on the eyes with its crisp, pleasing color grading; a constant visual moisture. Life of Pi made water a character by itself, from its destructive nature to its majestic aquatic life. It slowly sunk in that hate and love for the ocean surprisingly coexist. 

Light bulb moment: God. His very existence, have we not loved and hated it contemporaneously? Why do we suffer? Why do we feel like drowning at certain points of our half full/half empty lives? Or is He, in the greater scheme of things we yet to realize, quenching us? We all have our fair share of problems, disappointments, and failures that felt like drowning without water. Maybe it's how one swims, we cannot know for sure. Maybe all one has to do is to stay afloat, to be patient, because someone will rescue us soon, and everything will be - the most comforting word in life - okay. It's still arguable, really.

"Doubt is useful, it keeps faith a living thing."

It was important the animals, a wounded zebra, an orangutan, a hyena, and a Bengal tiger, were personified, not predominantly yet subtly, as a wounded sailor,  Pi's mother, a cook, and him respectively. It came, quite a while, like Animal Farm by George Orwell. While the novel depicted the effects of corrupted power, Life of Pi showed the mutual instinct of survival. That people can kill people too, some people protect people, and others, out of fear, protect themselves.  It was clear also that as one enjoys the pleasure in the company that took time to build of the other, the heart doesn't break even in parting.

"Patience, Richard Parker."

Suraj Sharma (above) was, without a doubt, a natural, like he was born for the role. A new face in Hollywood and already, he made cinematic history. There has had a rumor - call it a bird to stay in theme - that the film is overrated. Russovoir can't comment because he never felt it was ever. But if so it is, we knew it was for the brilliant, faith-woven plot; the visual effects was simply a symbiotic strategy.

Movie Recommendation Time: The Forger.

Bridge to Teribithia (2007) child actor Josh Hutcherson is a chiseled piece of work. Just as much as Dakota Fanning, they do not waste screen time simply because they are as efficient as actors as effective as their good looks. Ideally what Hollywood should be.

Hutcherson is Robert Pattinson of The Twilight Saga in The Hunger Games Trilogy. But with a lot more weight, credibility that truly sparkle from his prior stellar performances. Little Manhattan (2005), that which started it all, Russovoir's, say, interest of him. From tolerable films like Journey to the Center of the Earth (2008) to Academy Award-winning The Kids Are All Right (2010), he is inescapable. Josh has a specialty, you see; a sort of typecast in his roles. Arguably the world-on-shoulders character rests comfortably on his well-built body frame, thrown to his taut face, altogether responding an emotion, a performance, curious of his real life. He must've experienced struggle and pain at some point in his previous life to carry out such convincing staging. One of which is The Forger.

"First kiss the hand, then kiss the girl."

 

Joshua (Hutcherson) would do anything to be in Detention (2012) because that must mean he's in school.  Expelled and repelled by his own mother, the gifted painter wanders the world equipped with only a paintbrush and a canvas board, that which technically are still supplies, from which are his sword and shield. Like a wet painting, and a beautiful one to boot, waiting to be framed, he doesn't know how much his worth and, people as they are, want him at the cheapest. Meanwhile, all he wanted was an eraser to start over. To doodle hearts on ripped sheets with his own Girl with a Pearl Earring (click it).