The Mist
The movie's adult cold war Jurassic Park existentialist narrative gives all the convolutions that a Stephen King nightmare would have in a Maine small town. A structural literary critique is in order, firstly, given that the lead protagonist David Drayton is confronted by his particular selfishness, 'I have my own children to look after' while in story time hours to follow is given to a fit of selfless heroics at least momentarily enough in searching out a nearby pharmacy even if all others were warned not to leave. Religious fervor and zealotry and schisms all play out in quick order as one hysteric (Marsha Gay Harden) is quick not only to pick those for the sacrificing to beasts and urging in time followers that non believers are to pay with their lives. The story is played out rapidly as into a great chaotic descent leading to a disconnect between the character's and their personalities. On the one hand, David Drayton urges a badly burned man to hang on for his life as drugs are sought out, while neither sparing others of his own personal hopelessness and loss of faith especially given to fear of potential suffering. David's own convoluted sense of fear seems in a way more literary weakness more so than a character flaw or something intrinsically psychological if it were clearly so much cowardice, the trip to the pharmacy never would have happened, and given to all previous elements of survival in place, it is hard to see at the convenience of an empty tank that a world would end at the convenience of a hand gun. The moral of sacrifice itself plays out the woman Drayton turned away for help stares with her children in arm from the perch of an army rescue escort while much is too late for Drayton otherwise, and with this telling a testament of faith or lack thereof. Drayton if ever in a moment of clarity might have recalled his view of the religious hysteric in so many words leading having her followers in Jim Jone's fashion drinking cool aid ironically so and unfortunately Pascal's metaphysical consolations coming much to late.
The movie's adult cold war Jurassic Park existentialist narrative gives all the convolutions that a Stephen King nightmare would have in a Maine small town. A structural literary critique is in order, firstly, given that the lead protagonist David Drayton is confronted by his particular selfishness, 'I have my own children to look after' while in story time hours to follow is given to a fit of selfless heroics at least momentarily enough in searching out a nearby pharmacy even if all others were warned not to leave. Religious fervor and zealotry and schisms all play out in quick order as one hysteric (Marsha Gay Harden) is quick not only to pick those for the sacrificing to beasts and urging in time followers that non believers are to pay with their lives. The story is played out rapidly as into a great chaotic descent leading to a disconnect between the character's and their personalities. On the one hand, David Drayton urges a badly burned man to hang on for his life as drugs are sought out, while neither sparing others of his own personal hopelessness and loss of faith especially given to fear of potential suffering. David's own convoluted sense of fear seems in a way more literary weakness more so than a character flaw or something intrinsically psychological if it were clearly so much cowardice, the trip to the pharmacy never would have happened, and given to all previous elements of survival in place, it is hard to see at the convenience of an empty tank that a world would end at the convenience of a hand gun. The moral of sacrifice itself plays out the woman Drayton turned away for help stares with her children in arm from the perch of an army rescue escort while much is too late for Drayton otherwise, and with this telling a testament of faith or lack thereof. Drayton if ever in a moment of clarity might have recalled his view of the religious hysteric in so many words leading having her followers in Jim Jone's fashion drinking cool aid ironically so and unfortunately Pascal's metaphysical consolations coming much to late.
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