I haven't had much to say for the past few months really. Even when I blogged, it felt reluctantly contrived and poorly orchestrated. I don't really know why since I've had quite a few things to write about but nothing seeped past the subliminal, and I couldn't articulate anything literary. So I guess I'll just write about the most recent event and if you know me at all, that involves either movies or video games in either rant or rave fashions. Thankfully, this is the latter.

I just watched Gone baby gone, which I had downloaded from www.quicksilverscreen.com. If you hadn't already visited this site, it's because either I haven't told you yet, or you are a total douche.

There are few movies that induce epiphanies or similar revelatory experiences and, even at this point, I am unsure whether Gone baby Gone has achieved this, but some things are strikingly odd. Usually when I watch and/or review movies or any other entertainment medium, I indulge in plot-details, nuance performances and directional methods; however, rarely do I question the psyche of the protagonist or other incendiary characteristics that compel or reform the character. It's difficult to pin-point the subtleties specifically, as indeed, that should be the case; however, I'll try my best to explain what I mean.

Now, Casey Affleck, who plays the protagonist, isn't renowned for reprising roles or, in fact, lead roles for that matter. He usually plays side-characters, almost thrown in for the bemusement of his counterparts while he does or says foolish things. Not to mention his added unique idiosyncrasies for good measure. Perhaps this is the factor that I find most perplexing. Here we have a fully functional side-character, leading the way for, what may be a potential oscar-nomination, and we never really saw it coming.

I won't get too much into the plot details, since this movie isn't about the plot. Yes, the plot is unnerving and controversial; contains a plethora of twists and turns and is cleverly orchestrated fully to the point of sedition, but that's not what it's about. It's also not about the performances specifically, but a consolidation of sorts.

What I find remarkable is the connection you make with the movie itself. It exudes a profound distaste that leaves you passionately ambivalent. One one hand, you criticize and question the motives of the protagonist, which in most people's cases, will go against the better judgement. But on the other hand, perhaps it's not about the motives or morals, but for the greater-good.

Maybe sometimes you must compromise your own morality for your better judgement. I always figured they went hand-in-hand, but now I am not so sure. Perhaps your better judgement isn't predicated on morals--and vice versa--but is a separate entity that calibrates morality. Why should the greater-good suffer because of one person's morals? It neither sates the unrelenting thirst for justice nor does it alleviate the demons within.

Then of course, one has to calibrate morals and its relative concepts. Would you commit a crime, bound by the illegalities, even if you knew it went against your better judgement? Would your morals prevent you from deciphering the fine line between right and wrong? Perhaps sometimes, what's wrong is right, and the legalities are merely formalities. Perhaps it's not about what's right or wrong, as long as justice is served to those who sought it.

This is all very ambiguous, and I understand that without valid hypotheticals to delineate my points, it might not fully register. The point that I am trying to make in all of this is that this isn't simply a fascinating movie; to characterize it as merely a passing phenomenon would be a gross mistake. You could say the movie has rocked me to my core and has rendered me unhinged.

I had a lot more to say, but just as I was typing this all out yesterday, my computer froze and never turned back on. I have it at NCIX at the moment and hopefully they will be able to fix it; if not, it might be at least a week before I get my killer-PC back.