Jay Moriarity: Live Fast, Die Young.

James Dean, Kurt Cobain, and Marilyn Monroe - few of the iconic personalities that shortly yet hugely influenced and molded the pop culture. In their idiosyncratic ways, their public private lives, even more probing after they have died, have had recurring linger, as if a touchstone to the constantly resuscitated morals of this generation.

Allow Russovoir, perhaps for the first time in mainstream pop culture, to introduce and add Jay Moriarity: a dreamer who died at such a young and precocious age of 22 doing what he loves, surfing. Live Like Jay.

Jonny Weston, who played the surfing luminary, could have had the relatively easiest role. Charming really, than say, impressive. But we're not particularly focused on their performances; we just need them to deliver, to embody, to simply be, tolerable. A powerfully moving life story is what gets the audience; in this case, the beauty of the sport. It's likely the audience is drawn to the relationship of the ocean on the big screen than anywhere dry. So much so that we are attracted to the picturesque waves and how surfing, through Weston, is frustratedly enviable; a pouring jealousy to take one's breath away.

"If you look hard enough, there's always a way through."

To Gerard Butler, it's arguably a different tide. How shallow it is to judge his performance only on screen. Rumor has it Butler almost died learning how to surf for the role, for the film; he isn't a surfer by birth. That alone deserves a minute (or two - it was near-fatal) privilege with Poseidon's trident. What you see in the film consequently was months of practice with surfing mentor Grant Washburn. Russovoir thought everything else didn't matter and matter at the same time, as if were hot and cold valves that display a rather impressive stage presence - a trial and error to a heart-warming.

Chasing Mavericks is most inspiring since Soul Surfer (2011). One would wonder had Moriarity and Bethany Hamilton (click it), played by AnnaSophia Robb, ever met at a surfing event at one point. Each uniquely a marvel from sink or swim situations of their own, the film recounted the daring life of Jay from which despite untimely short, it was well-lived; as if enough trips to the ocean to see life half-full.

And They Survived Happily Ever After.

There are germany factors that qualifies an actor to be in the running for Best Actor in the Academy Awards. One of which that Russovoir strongly suggests is the biggest factor is the lingering impact of the performance; the delivery, the passion, the energy that seem unstable, but are contained within the corners of the camera because who would want precious talent wasted and misplaced. That being said, what trouble and expense incurred in the making of an Oscar statuette were for a righteous cause; Christoph Waltz is the righteous effect.

Defiant and devious, Waltz's role was insatiable. Tarantino couldn't have picked a better actor for a character whose ulterior, manipulative approach was masked by the veneer of diplomacy. He had this idiosyncrasy (or possibly an acting instruction) from which we get ourselves lost from the many or few, regardless, words he must say, as a revelatory bounty hunter, in Django Unchained. Adorably measured and imposing in delivery of them fancy words, both in aforementioned film and Inglourious Basterds (2009), Waltz has always been in good hands by top dog director, Quentin Tarantino.

Two (2) Oscar awards for two (2) Tarantino films - coincidence? Nein.

"You silver tongue devil, you."

In another universe, at another bizarre academy award show, Django Unchained wins, unquestionably, Best Pictorture. It was almost hard to take in all the bloodshed, brutality, and suffering. Not that Russovoir doesn't appeal to the sort. In fact, it's one of Russovoir's favorite sorts (provided the storyline is bloody interesting). It's just that films that elaborate and/or innovate the idea of slavery - black slavery - has its repercussions. Although while the film favors the blacks with a happy ending, and the maltreatment that which evokes sympathy, the notoriously prevalent racism of the past (from such medium) irks the suppressed racism of the present; however slightly, it's felt. Russovoir won't go telling you how so; he leaves it up to you. Had none was even seen (so subtle) from the film, discretion saves the humiliation of paranoia (not that it already hasn't begun).

Overall, Tarantino is a fearless man - hold up! - you didn't just pass over Leonardo DiCaprio, did you? What is this, the Oscars? Shame.

DiCaprio was like any other character he played that always seems dismissed by the Academy: immersed. It was even more compelling with the knowledge (thank you 9gag) that at such climactic scene, what appeared to be an 'accident' was already an improvised production value. It was remarkably almost deceiving to witness such spontaneity. Such spontaneity too was agonizingly palpable from Kerry Washington's obsequiousness. All of which mentioned left little to Jamie Foxx. Poor guy, overshadowed - not by the role - but by performance recall.

"You had my curiosity. But now you have my attention."

Overall, Tarantino is a fearless man. Django Unchained stirred up controversies left and right from the conservative black few, and still managed to be the highest-grossing film of his career (so far). Frankly what we love about Tarantino is how he has a signature and one would "have to stand on a chair to kiss [my] ass." to dissuade him.

21 and Over-WHELMED.

Last weekend, Russovoir partied fairly hard; it was one of those nights you just want to let loose of your inhibitions and in the wee hours of the night to the crack of dawn, you withdraw all forms of responsibilities apart from your phone and wallet in constant safe keeping. At that rebellious time and space, it's not entirely about the revelry and sin; it's about a one and only life realized, renewed, and celebrated, conveniently in the security of stocky bouncers.

Like a divine intervention, Russovoir finally knew how to write about 21 & Over. Since the film was daft at first, Russovoir needed the drive to write, what and why to write - a persuasive angle by which it's to be viewed how it should be despite having to finish the film. Appealing actors - Justin Chon, Miles Teller, and fresh from the sleeper success of Pitch Perfect (2012), Skylar Astin led Russovoir to it devoid of impatience because, simply put, the rapport was fresh.

"I'm 21, you black jack motherfuckerrr!"

Admittedly, they were all it took to make Russovoir watch; they all came so familiar from their previous films, none of which personally was a disappointment. It's like they brought curious cast quality on a film one reads in passing was "too predictable and inconsistently funny..." (Rotten Tomatoes). Russovoir wonders, they must have seen too many films of similar genre. 21 & Over, despite the depravity and explicit obscenity, invested profoundly and appropriately on its actors that which ultimately salvaged the storyline to a tolerable.

"That's my friend you're talking to!"

Overwhelmed by his character and more significantly the turnaround persona of Miles Teller (above) he was the kick, immediately or eventually, depending on the dosage of him before. A promising sight in earlier and tamed roles in Rabbit Hole (2010) and Footloose (2011), the kick was unexpectedly hard as it is impressive; and you wonder, was this outburst of unexplored talent provoked by alcohol? However he got it, Russovoir raises the red cup for an intoxicating performance.

No MYSTIQUE at the Oscars.

Russovoir disagrees, disagrees indeed had anyone thought Jennifer Lawrence didn't deserve the Oscar for Best Actress in a Leading Role in The Silver Linings Playbook. The credibility of the rigorous selection process of the Academy, this year at least, had been worthy of the superiority and prestige than it has ever been. Lawrence pulled a performance so good, one thinks she shapeshifted to this woman, this probably in her thirties, devil-may-care, slut seductress even Russovoir himself didn't recognize from her multi-million franchise film. As it should be, she was in complete character; it's disarming.

"He's harassing me! He's harassing me!"

It was only right that the film didn't win Best Picture. Not that it was any inferior. To be nominated is by itself a valued recognition. It does have some cinematic value (boobs!) in which the story itself is powerful and original. Although while there's no need to brutalize the story with visual effects, which was also felt in Argo (2012), Best Picture, if Russovoir knew any better, is not only about the visual orgasm of the film, it's about the passion and dedication (maybe even slide in redemption for Affleck's sake) the Academy will eventually take into account, and with which reflect on the film. We will never see Argo and importantly, Ben Affleck the same way again.

Speaking of never seeing someone the same way again, Bradley Cooper huh, what a transformation! Russovoir may be the few who doesn't appeal to his Hangover films. Despite his choice of genre in films, which of course he has total control over, what wistfully precedes a Bradley Cooper, personally, is films of clever, romantic comedy plots; a unique blend of Ryan Reynolds sarcasm, Hugh Grant grace, and the charming resilience of Ryan Gosling - gentlemen of attributable leading man roles. The Silver Linings Playbook has become a brand of Bradley (not for long - Hangover 3).  You know, Russovoir gets it, he likes to be the funny man. Okay, whatever works for him, best of luck.

"I don't know why they're so happy with a 5."

Insatiably, here's another two cents - one more time - God, Lawrence took the luster out of Robert De Niro, as if as we turn our attention to her outpourings of annoyance and matter-of-facts, we see a new veteran; a single scene (can't miss it) that defines that paradox in the performing arts. It's her film to call own. 8-time Academy Award nominated blockbuster, what silver lining - it's a hole in the clouds!