No time to write anything with the Hoi An scooter trip starting 100 minutes hence, so here’s a re-post about films that have dealt with death in an exceptional way: “The best death-meditation films impart a sense of tranquility or acceptance about what’s to come, which is what most of us go to films about death to receive, and what the best of these always seem to convey in some way.

Terrence Stamp, John Hurt and Tim Roth in Stephen Frears’ The Hit.

“They usually do this by selling the idea of structure and continuity. They persuade that despite the universe being run on cold chance and mathematical indifference, each life has a particular task or fulfillment that needs to happen, and that by satisfying this requirement some connection to a grand scheme is revealed.

“You can call this a delusional wish-fulfillment scenario (and I won’t argue about that), but certain films have sold this idea in a way that simultaneously gives you the chills but also settles you down and makes you feel okay.

“Here’s a list containing some top achievers in this realm. I’m not going to explain why they’re successful in conveying the above except to underline that it’s not just me talking here — these movies definitely impart a sense of benevolent order and a belief that the end of a life on the planet earth is but a passage into something else. I’ve listed them in order of preference, or by the standard of emotional persuasion.

“1. Martin Scorsese‘s The Last Temptation of Christ. 2. Stephen Frears‘ The Hit. 3. Brian Desmond Hurst‘s A Christmas Carol. 4. Warren Beatty and Buck Henry‘s Heaven Can Wait. 5. Henry King‘s Carousel (based on Ferenc Molnar‘s Lilliom). 6. Tim Burton‘s Beetlejuice. 6. Michael Powell‘s A Matter Of Life And Death, a.k.a. Stairway To Heaven. 7. Albert Brooks‘ Defending Your Life.

Warner Bros. has decided to open Ben Affleck‘s Live By Night, a 1930s gangster drama based on a Dennis Lahane novel, on 10.20.17, or roughly two years after it began shooting in Savannah. (Sasha Stone and I visited the set during last October’s Savannah Film Festival.) You’d think that a presumably solid genre film that finished shooting a month or two ago would open late this year or certainly by the summer of ’17. The 10.20.17 date seems to indicate a need for additional shooting or extensive CGI…something along those lines.

An invite to a 4.6 Century City screening of Hardcore Henry has arrived. I’ll attend, of course, but God help me. Anyone who’s watched either of the two trailers can tell you where it’s coming from, but I love Jacob Hall’s SXSW Slashfilm review, dated 3.14:

Excerpt: “Hardcore Henry is less of a movie and more of a 95-minute assault on good taste, a bloody theme park ride in filmic clothing, and/or the gruesome collision of the video gaming and cinematic languages. It’s a singular experience that’s truly unlike any other movie, and for some viewers, it will still be, understandably, one film of its kind too many. But Hardcore Henry isn’t lazy and it isn’t half-assed and it is in no way derivative — for better and worse, it is an ambitious undertaking that accomplishes exactly what it set out to accomplish and there’s something admirable about it.

“It’s impressively made, but entirely juvenile. Admittedly exciting, but casually cruel. Formally astonishing, but kind of skin-crawling on more than a few issues. Yeah, Hardcore Henry is going to elicit strong reactions and if you’ll allow me to break out the dreaded first person, I have no idea what to make of it.” Dreaded first-person?

“And perhaps going first-person with this review is appropriate. After all, the chief selling point of Hardcore Henry is that it’s an action movie told entirely through the first-person perspective. In fact, the making of the film sounds as thrilling any of the finished action scenes, as director Ilya Naishuller and his crew strapped cameras to a bunch of stuntmen who obviously didn’t fear the reaper and tossed them into chaotic car chases, death-defying leaps off of buildings, close-quarters combat with flamethrower-wielding henchmen, and even a musical number.

It’s 1:10 am, and I’m filing from the lobby of the Than Thien hotel in Hue. Filing from my third-floor room would be preferable, of course, but the upstairs wifi is on the fritz. The horror of Brussels has obviously cast a pall over everything and everyone, and yet as ghastly as this sounds mass murder at the hands of ISIS has almost begun to seem…well, not routine but certainly not uncommon. What happened today was a shock but who was surprised? I hated admitting this but my first thought was that today’s event will probably fortify Donald Trump‘s appeal among fence-sitters…God help us.

Obviously there’s no reconciling today’s tragedy and the fact that we’re here in Vietnam and (this almost sounds puerile in light of today’s massacre) enjoying a world-class adventure. But that’s the shot.

Hue Citadel — Tuesday, 3.22, 10:10 pm.

River valley adjacent to Phong Nha’s Dark Cave — Tuesday,3.22, 2:10 pm.

Today’s activity was an exhilarating eight-hour excursion inside the Phong Nha-Ke Bang National Park — Paradise Cave, Dark Cave (the highlight of which was a fairly difficult trudge into a pool of mud so dense and liquidy-smooth that it looked and felt like melted milk-chocolate sauce), ziplining, swimming, hiking. We returned to the Phong Nha Lakehouse Resort around 4:45 pm, and then hopped into a Vidotour van for a three and 1/2 hour drive to Hue.

Jett and Cait weren’t in the mood but I roamed the city for a couple of hours, walking along the Perfume river, snapping photos of the Citadel and whatnot. It’s quite warm here and humid — you can work up a sweat just by walking at a leisurely pace. We leave tomorrow morning at 9 am for a six-hour scooter voyage to Hoi An, which is roughly 125 kilometers or 77 miles.