THINK and TWITCH.

Written like Insidious (2011) already has had a sequel patiently in safe keeping, Insidious: Chapter 2 is an original screenplay with suspense and culmination not going further from its maker's style, and yet going further with the invention of the far-fetched and far cry. 

Confessedly confusing and dragging as it sends us deeper and deeper into the story, while in a surprising dissent with its scattered plot, only with alert retrospection and uninterrupted comprehension the story is true to its perfect title - insidious of genius; and when Russovoir put the pieces together, Insidious and Insidious: Chapter 2 in his head playing simultaneously, all happening long after the movie ended, he understood, it was not strongly 'to scare', considering who wrote the script and what he does best, but 'to think' as well.

"When I look into his eyes, he's not there."

It has easily become one of the smartest horror stories. Smart in a way that it dealt with elements improbable but in that particular story, and with mind open that it can be possible, even just until the film duration, in which two worlds can coexist, one of which devoid of time, the nothingness creates augmented realities of and through the supernatural, hairs will stand not only because the film is suspenseful but also, a haunting cohesion until, suppressed (again). 

To Temple We WHORE-ship.

Give Amanda Seyfried Lovelace (2013), maybe not even credit the relatively small role of Juno Temple (below right) there. That's quite alright, Temple has a number of memorable, laudable roles under her G-string. One of the melange is independent film Afternoon Delight.

"It's a Barely Legal thing. It gets men excited."

Nothing but boner fide admiration for Juno Temple, step aside Jennifer Lawrence (don't go too far now, Russovoir will miss you). Maybe it's the frizzy beehive locks, maybe the doll-contoured face; and maybe the cheekiness of the role, its perfected characterization, her unfazed and unrealized, invoking  speechless fascination, maturity bursting forth the screen, Temple stripped off any shred of anonymity in the industry of, while situationally reasonable, baring all for show.

"She knows; I'm a whore."

Afternoon Delight has a subtle, slightly piercing turn of events; it gives a profound perspective glimpse, a humbling comparison of what you have and what others don't get to have, human compassion, and most of all, the tendencies of marriage, many of which need constant work. The film is explicit because it needs to be - how else can you represent a prostitute? After one has marveled the 24-year old's Renaissance painting of a body, one eventually finds the heart of the story, as if Juno's breasts distracts to those otherwise looking past.