George Clooney’s latest effort is a case study in the importance of sticking the landing.
“I believe whatever doesn’t kill you, simply makes you… [takes off his mask] stranger.”
…transformed into another image, and another drifting away, without beginning, or end, to always be, and not knowing what to do next, trapped in time, and fading into the mists of history, a glimpse of blissful eternity…
Ahhh…eternity, we’ve hit upon that word. Again. THAT word, buried below, like some lost remnant on an island where time has no meaning; and space, even less, just the two concepts engaged in immortal combat, as it were, with each other. Climb aboard as we venture out there into eternal bliss (or, is it madness?) in the first episode of the fourth season, and a nod back to the final episode of the third season, with a journey through the American version of a science fiction novel written by Stanislaw Lem, Solaris.
Transformed into another image, this film was produced by James “I’m King of the World” Cameron betwixt his minor Kate y Leo celluloid ride upon the waves of joyful rompery before remembering that they are, in fact, on the tragic Titanic (didn’t they see the movie? Didn’t they hear about the iceberg?), and a tiny 3-D science fiction docudrama called Avatar, starring an evil jarhead, the cool Latino chick from LOST, a miscast Ripley Weaver, and a bunch of little fairies and birds that are quite fascinating to watch when a) high, and b) catching the overwrought film on a towering 26-story screen.
