I AM...

I am whatever YOU think I am until YOU get to KNOW me. This is true for everyone else too, of course.. so don't make assumptions about anyone or pass judgment; ask questions. You might just make a new friend.


Sunday, October 14, 2012


In the past few short
years, ‘greed’ has been shot in the butt, but still survives having not learned
it’s lessons. Greed begets greed, and the karma of wondering in those last days
what it was all for, since none comes to the other side. If we can take
something with us to the ‘next side’, it is the love inside you that has
nothing to do with what you earned or investments. The real investment is in
the love and compassion that comes from your heart for others who feel your
love with no motives. The ‘more-than-you-need-people’ are oblivious to the real
people who do need more.

To give with an
expectation of a return is really an investment dressed in sheep’s clothing.
Greed is hoarding that which is taken because you think 
you've earned it when
in fact,  giving it to help others, is to help raise the consciousness of
the planet. Always wanting more so you can have more of
‘excitement’ for
yourself is tantamount to being a ‘self serving illuminati scrooge’, or a wolf
in sheeple’s clothing. In fact, it’s just being another ‘sheeple’ who
masquerades as a ‘do gooder’ to con his fellow sheep into submitting so the
false sheep can shear them for his own pleasure.

unchecked gluttony is a plague that reaches around the world, robbing those who
have little, or nothing. That same energy for acquiring what serves greed could
be invested in attention to matters of the heart, and instead given with a
better, more compassionate use of the energy. ‘Entitlement’ is a sickness that
controls the mind of the greedy to think that the world ‘owes them’ while
confused with the reality instead, that it is they who owes the world from
their heart. The ‘pot of gold at the end of a rainbow’ is really a pot of gold,
and divine compassion for others within each of us.

He who has nothing
deserves the compassion of those who have much to give whether material or
spiritual, and with no expectation of return. In the greedy’s mind, a poor
investment! In the mind of the conscious giver, as well as the ‘receiver’ who
is grateful, a ‘real god given investment’ that can grow into perpetual giving
back to others. Hoarding ‘til death do us part is not written in any holy book,
or modern day self inspiration one. The dark side of the moon is for the
greedy, and the light side of the moon is for the loving - it’s time to be on
the light side!


"[W]ithout dignity there is no liberty, without 

justice there is no dignity, and 

without independence there are no free men."

Patrice Lumumba


Stars: Andrew
Lincoln, Norman Reedus, Sarah Wayne Collies, Chandler Riggs, Steven Yeun,
Laurie Holden, Lauren Cohan, Scott Wilson, David Morrissey, Danai Gurira,
Michael Rooker, Dallas Roberts, IronE Singleton, Melissa McBride
Premiere date: October 14

You notice that deafening silence?
That's the sound of millions of Walking Dead haters finally
shutting their traps. There's really no other way for them to respond now that
AMC's zombie apocalypse series has seemingly abandoned its slower, action-less
episodes in favor of all-out human-versus-human and human-versus-walker contentions and
psychological warfare. The last half of The 

Walking Dead's second
season, overseen by new showrunner Glenn Mazzara (who replaced original
shotcaller Frank Darabont), was a breathless onslaught of zombie carnage and
killed-off major characters, culminating (finally!) in the
introduction of both comic book favorite Michonne (Danai Gurira) and the
prison setting of Woodbury.

And anyone who's up on Robert
Kirkman's comic knows who's waiting to raise all kinds of sadistic hell inside
and outside Woodbury's gated walls: The Governor (Walking Dead newcomer
David Morrissey), a cold-blooded alpha male who's about to make the lives of
the hardened Rick (Andrew Lincoln) and his crew exceedingly problematic. Even
more so than the hundreds of zombies crowding around Woodbury looking to rip
open some arms, legs, and other body parts. Those naysayers' traps? We're
hoping they're left agape in disbelief at what's going down on screen.


About The Movie:

The tale is a
true one this time around, transporting us back to the eerily-familiar era of
the late 1970s/early 1980s, when Iran was in the midst of
a tumultuous revolution. The Shah (King) had been ousted from power
and took refuge in America; under the leadership of religious cleric Ayatollah
Khomeini, the Iranian revolutionaries protested the Shah’s escape by storming
the U.S. Embassy in Iran, taking fifty-two American citizens hostage.

six Americans escaped the embassy siege and found refuge with a Canadian
diplomat. With their identities slowly but surely being pieced together by the
revolutionary guard, “The Six” had one hope: CIA exfil (exfiltration) wiz Tony
Mendez (Affleck). Tony’s big idea? Create a fake Canadian sci-fi film scouting
locations in Tehran, Iran, and sneak The Six out in plain sight. But as usual,
the plan doesn’t go quite as smoothly as Mendez had hoped.

What Is Good/Bad About The Movie:

Affleck takes
this screenplay and turns his gifts as a director on this
so-strange-it-has-to-be-true story. What those gifts put into the film is a
look and feel of the time in which it takes place, Affleck bringing the period
to life with much more than just haircuts and classic cars. Even the opening
Warner Brothers logo has gone '70s retro and little pops and scratches, what
some would call the "Grindhouse Effect", give 
Argo the
impression of being a film from the time.

But more so than
simply capturing a time and place on film, Affleck and Terrio craft and tell a
story here that is every bit as suspenseful as it is engaging. He cuts back and
forth between Mendez trying to get the CIA to back his plan and the embassy
workers hiding in the home of the Canadian ambassador. Recreating the streets
of Iran during the time with an air of tension that couldn't be wound tighter,
the film offers plenty of edge-of-your-seat moments even if you're aware of how
the real events turned out.

likes to make fun of Hollywood. Well, Hollywood just likes talking about
Hollywood whether it's good or bad, but the fact that Argo is
littered with nearly obnoxious quips and punny sayings about the way the film
industry works keeps it from being a truly great movie. It's not misdirected or
even misguided. John Goodman as an old friend of Mendez's and
Hollywood effects artist or Alan Arkin - Great as he may be
here - as an aged and cynical producer show up. Their little catchphrase of
"Argo Fuck Yourself" is cute the first time, not so much the third or
fourth time it gets shoehorned in here. Fortunately, the Hollywood angle plays
less of an importance than anticipated, as Affleck seems to know the story
works exponentially better as a very serious procedural than it does a satire
on the indulgence and ridiculousness of the film industry.

The rest of
the cast does wonderful work, 
Bryan Cranston and Scoot
 standing out as Mendez's CIA supervisor and one of the embassy
workers, respectively. There are dozens of characters to keep track of in 
and Affleck's work as a director and the incredible work from his cast makes
each character worthwhile, which makes the drama all the more heightened.

For fans of
the thriller genre (political or not) 
Argo is a must-see, and
is an all-around quality time at the movies for the mature crowd. The film
fulfills its promise of being worthwhile genre entertainment (no more, no
less), and gets boosted  by a good cast, good script, and the luck of

Would it be
as captivating and nerve-wracking to watch if we didn’t live in a time where
American embassies are once again under attack? Or a time in which we’ve
witnessed real extremists executing people in Web videos? Probably not. But
is the time we live in, and by simply holding up this
example, Affleck successfully uses history to tap into very real fears (both
personal and political) about what may come tomorrow.

Overall Grade:



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