Tuesday, March 26, 2024

Godzilla vs. Kong

The idea that Antarctica is home to vast enticing treasures has spellbindingly appealed to me for many a year, the thought that it was once inhabited millions of years ago makes me envious of those who will see it thaw.

Godzilla vs. Kong speeds things up a bit to archaeologically respond to an emboldened theory, which maintains that the Earth is hollow and that an ancient civilization dwells within.

It's theorized that both King Kong and the mighty Godzilla resided there in their youth, and somehow broke free to disputatiously arise upon the newfound realms above.

King Kong settling on his cherished island where he made the fertile land his home, Godzilla residing beneath the waves at times emerging through bellicose intrigue.

Why must Godzilla attack when he consciously knows of King Kong's bearings, why can't they both make peace and congenially bask in apex acupuncture? 

I didn't even know there was a new Kong/Godzilla film when I wrote my Gojira tai Mekagojira review in early winter, I was just reviewing random Godzilla films because that's what appealed to me at the time.

But my Highlander Godzilla scenario certainly applies to 'Zilla and Kong.

And lo and behold Mechagodzilla as well!

I couldn't have been more pleasantly surprised. 

I hope people don't fight wars over Antarctica as it thaws, such endeavours would seem rather costly considering the inhospitable environs. 

Unfortunately, economic wealth does appeal to many but so does anthropology!, and if it significantly thaws during the wrong financial crisis competing nations may clash for its wealth.

Don't overlook the integral import of Indiana Jones films in the fantasy sector, they challenge plutocratic impeti and encourage intergenerational cultural growth (not resource exploitation).

Kong and Godzilla seem to come to terms after battling Mechagodzilla in Godzilla vs. Kong, as it seemed the United States and the Soviet Union resiliently would after defeating Nazi Germany.

Perhaps the next versatile film won't see the emergence of a cold war (I think it was just released), an archaeological investigation of the Hollow Earth would be apt perhaps featuring ye olde Dr. Jones.

In terms of constant improbable ridiculousness multivariably motivating competing interests, within a fast-paced imaginary plot where so many things could possibly go wrong, Godzilla vs. Kong doesn't disappoint and was a lot of fun to sit back and watch, multilayered and inherently uncanny, indeed what lies deep within the Earth?

It's at least as appealing as outer space! 

Maybe not that appealing. 

Friday, March 22, 2024

Ghostbusters: Afterlife

A family struggles financially and is forced to suddenly relocate, an estranged relative having recently passed but not without having left them his eccentric land.

They make the chaotic move and soon must adjust to small town life, the teenagers somewhat grouchy at first until serendipity inspires motivation.

Curiosity inquisitively roams and there's an abundance of toys on the farm, some of them socioculturally familiar in terms of old school narrative phenoms. 

Mom soon finds herself amorously pursued by her daughter's lackadaisical comic teacher, while her son looks for work at a diner with the happenstance hopes of dating the waitress.

Meanwhile, ye olde particle-accelerator is awkwardly discovered in a secret chamber, and ghosts are spotted nearby who require electronic sequesterization. 

They take the old ghostbuster mobile for a reanimated spin around the sleepy town, leaving quite the mischievous mess as they chase the frenzied febrile phantom.

They have a certain knack for ghostbusting even if trouble ensues enthusiastically however.

Being Egon Spengler's grandchildren!

Without having lost the archaic touch.

I have to admit, this style of filmmaking seemed endearingly familiar, and I found myself wanting to watch the film in one go instead of splitting it up into 2 nights.

It was like that old Ghostbusters magic had been rediscovered by the next generation, and although I don't really recommend making sequels decades later, this one worked well, intergenerationally speaking (still hoping for another with the all female cast). 

Of course ghostbusting can't stray from the horrors of cynical dismissive trajectories, the public school an unfortunate gong show, with no genuine leadership, it was tough to watch (they have good public schools in Canada and Québec [higher taxes]).

And dispiriting, I know it's just a comedy film that makes light of serious realities, and that systemic critiques are wincingly welcome to avoid too much hyper-reactive self-obsession, but teaching is an incredibly difficult job as I've mentioned before several times, another layer of obtuse scrutiny only adds to the associated difficulties (YouTube is making it impossible to get through to some kids). 

I like to watch both comedies and dramas so the uptight cynicism never sets in, instead the tragedy associated with progressive endeavours becomes much more sublime and worthwhile correspondingly.

I think for a lot of people it's generally one or the other however.

Don't sell yourself short, take the well-rounded approach.

Take another look around at what we've achieved. 

Tuesday, March 19, 2024

Thor: Love & Thunder

I must admit to reflexively preferring Star Trek's classification of the Gods, in the age old episode of The Original Series where the Enterprise's crew encounters Apollo.

He had to leave Earth long ago and set out to the Heavens in search of worshippers, along with his Greek and Roman brethren, eventually settling on an isolated planet.

Upon encountering the crew of the Enterprise, he seeks to coerce their admiration, but the imaginative space-faring ill-disposed citizens soon find a way to outmanoeuvre him.

Thor is rather chill for a God preferring to sleep in and engage in horseplay, when the people need him he courageously responds but otherwise disdains regal pomp and pageantry. 

Thus, he fits in well with laidback demonstrative interstellar particularities, and is much easier to actively root for than someone demanding obedience and loyalty.

I thought it was cool that Marvel included the less widely known Norse Gods in its narratives, because it was fun to learn more about them while watching the athletically staged theatrics.

But Love & Thunder introduces every God the all and sundry you can possibly imagine (even Q: The Wingéd Serpent), it's out of touch with the creative genius that led to the X-Men and the Avengers.

The abundant Gods no longer seek worship but rather inhabit a far off realm, where they lounge about and entertain as decorum permits with unheralded alacrity. 

Thor fittingly disrupts their balanced order keeping in tune with contemporary shenanigans, functioning in a similar way to Captain Kirk in that Star Trek episode from long ago.

Marvel and D.C's creative brilliance has no doubt been proven time and again, but as their films continue to exponentially multiply has Star Trek's multivariable imagination been overlooked?

Gods no doubt exist within the diverse multilayered Trekkian sagas, but the emphasis is usually on how human ingenuity can resourcefully outwit them.

Star Trek isn't as reliant on superhuman strength or exceptional idiosyncrasy, to find a logical working solution to the crafty predicaments it faces week after week.

Rather it champions science and the ingenious solutions expediently found, by a group of curious travellers who search the universe to expand their minds.

Marvel and D.C etc certainly deserve a place in the forefront. They've dynamically carved multiple scenarios overflowing with daring and remarkable teamwork.

But something's lost if Star Trek's focus on the human factor loses its cinematic edge.

Not just human, alien as well.

Interactively engaged in inclusive environments (where you'd also find Thor). 

Friday, March 15, 2024

The Adults

A close family constructively enjoys a creative childhood dynamically engaged, during which characters and acts and plays are imaginatively shared with receptive audiences. 

The two older siblings have an unspoken rivalry but the youngest generously co-exists, angelically posturing with unselfish sincerity she forges a bridge between the feuding duo. 

As time moves on, and their parents pass, the brother packs his things and leaves one day, their tightened bonds tritely cast aside as he travels the country playing poker and working.

Unable to process his hard-pounding grief he stays away for many a year, hardly calling and showing little interest in the resourceful sisters who made up his home.

But one remorseful soul-searching day he decides to return with undetermined intention, certainly to play poker with ye old school friends, still genuinely curious about his family's goings on.

The older sister who had to embrace responsibility after their mother's passing to save the house, isn't exactly pleased to see him when he suddenly shows up having never lent a hand.

To make things worse he strictly divides his precious free time between family and poker, heading out to intense games in the evenings, sleeping late, and vouchsafing afternoons. 

A habitually logical man attempting to abide by rational guidelines, who once embraced artistic endeavours, must consciously manifest spirit. 

Or suffer cataclysmic austere dissonance.

The Adults perhaps adding a hands-on French touch.

It seems to respect Band à part anyways with random inspired improvised dancing, not sure if that was just a coincidence or an intertextual shout out to independent hommage. 

The film excels at patiently observing the unpleasant difficulties associated with maturity, and the inherent frustrating cold calculated reckoning attributed to derivatives and distant dividends. 

As he slowly comes to realize he's somewhat of an artist playing real world at times, the film warms up and becomes more cute and cuddly, not without pressure and argument and confrontation.

Brought together through soulful reminiscence times creatively conjuring collective cohesion.

Adulthood having presented a lasting challenge.

Stronger united.

To non-traditionally age. 

Tuesday, March 12, 2024

Blue Beetle

I was seriously impressed with D.C's Blue Beetle.

And I had no idea what to expect.

Awkwardly, I had never heard of the Blue Beetle and didn't know where he or she fit into the D.C Universe, it's actually a bit more fun watching sci-fi-action-adventure when you have no idea who the characters are, notably when Grandma takes cues from T2, and the story deals with crippling student debt. 

According to Instagram, Biden and Harris have taken great strides to ease American student debt burdens, which is impressive, they've actually done something about it, like I said before, it's like Michael Moore's Presidency.

Blue Beetle works with a struggling family who worked hard to put one of its children through college, who returns home after completing his undergraduate degree, to find his family facing eviction.

The landlord tripled the rent and it was just way too freakin' much, after years of reliable solvency, such rent increases should be illegal (partout).

But Reyes is still happy to see his family who are just as enthused to see him, and he fortunately hooks up with the heir to a massive corporation, whom may prove rather handy in the upcoming sequel.

"The Scarab Beetle" chooses him as well and he becomes an unwitting superhero, his genuine honesty motivating the alien's choice, his acclimatization chill with improvisation.

Respect for Latino-America and the integral families that stick together, and extended communities that lend helping hands, it must be a cool network to be a part of.

It's similar with the French they genuinely care about one another, they may feud and bicker and disagree but at the end of the day it's a bona fide community.

With all my elevations of family values I may be giving the wrong impression, I don't actually want to have a family, that ship sailed a long time ago (too crazy for relationships).

A lot of the posts I see on social media and within films and series plus books, do seem to focus on family however, and it does seem to be a universal factor (respect for people who deal with the responsibility [hence often writing about them]).

There are still millions of single people out there for whom this model simply doesn't fit, or fits for a time, and then later doesn't, I do feel more at home with them.

I really loved Blue Beetle it honestly and sincerely cares about people, it's not the millionaires or all-powerful aliens, it's a remarkable family that's easier to relate to.

Hopefully robot police aren't seriously being considered around the world.

That needs to be collectively fought.

Even by ye olde policepersons.

Note: I really need to get into Mexican TV. 

It looks amazing!

I'm putting Blue Beetle up there with Captain America: Civil War (Politics) and Guardians of the Galaxy Vol. 3 (Animals). 

For its intense focus on Social Justice. 

And cool story.

And amazing Dad.

Friday, March 8, 2024

The Flash

If I could travel through time I know precisely where I'd go. I'd find the name of the Captain who found the secret ocean hideaway of the eels, and discover a way to steer his ship off course, before the fateful day when he ecstatically fractured.

Before then, eels had a great thing going on, who would have guessed anyone would ever find them, far off in the middle of the ocean, their realm safe for thousands of millennia (it's technically more like salmon if I remember correctly, they return to a spot in the Atlantic every year where they breed, and then head out once again). 

However, the Flash discovers he can travel through time in a recent film bearing his name, and after he voyages to the past to save his mom, the world he once knew is changed forever.

Not technically changed forever, he can continue to travel through time to fix it, but it's kind of like the Kurtwood Smith two part episode of Star Trek: VoyagerYear of Hell, you can constantly alter time, but never find a perfect match for what you once knew (it's a cool episode).

It's also kind of like Marvel's Spider-Man: No Way Home where the different franchises merge as one, as the Flash enters an alternate reality where Michael Keaton still plays Batman.

For those of us who are rather annoyed when studios find new actors to play familiar characters, rather than sticking with the favourites their fans know and love, this mélange is quite intriguing, or at least it is to me anyways. 

Perhaps in an alternate timeline eels themselves have superpowers, and are capable of breathing on land, a defensive armada sinking any ship which approaches their lair!

With the Flash D.C takes on the Multiverse as well in death-defying multilateral fashion, as they also did in Everything Everywhere All at Once, and Star Trek: The Next Generation's Parallels.

I've started to wonder about stray thoughts about the bizarro contemplations that occur from time to time, it's okay because they're just random thoughts right?, but what if they exist in another dimension!?

Contemporary science seems a long ways off from definitively answering that question, although I have stumbled upon another cool book idea, without ever having meant to do so.

Are coincidences like The Flash's special moments which occur regardless in every single timeline, a point that doesn't make much sense when logically scrutinized, especially considering intuitive mutation.

The multiverse makes for compelling fiction nevertheless disputed points harnessing its synthetic prowess.

To narrativize exponentially.

Without losing limitless oceanic sights.  

*I actually had two coincidences on a walk today. I was thinking about how it was nice to see a fisher last year, but how I would have rather seen chipmunks and red squirrels regularly (they were absent from the forest for much of the year). Then I suddenly saw a red squirrel, which was cool. Around here I don't see them that often. Then I was thinking about making a smoothie and my thoughts strayed to ye olde Booster Juice. After which I immediately saw a Booster Juice bottle on the path. I was surprised, arrived home, made a smoothie.

Tuesday, March 5, 2024

Black Adam

D.C's Black Adam takes a turn for the ruthless as opposing extremists seek absolute victory, the feuding opponents having been unable to forgive for thousands of acrimonious rage-fuelled years.

The lack of concern for human life malevolently maintained by characters within, sets a maniacal distressing precedent not often seen in fantasy-adventures.

Of course they're countered by caring individuals definitively dedicated to preserving life, who don't calculate with vicious reckoning absolutely composed through righteous might.

When both sides in an age old conflict that sees no prospect of ending soon, view their adversaries with reckless contempt there's no way out of the malignant cycle.

Without leadership willing to withstand the bitter force of paralyzing prejudice, on both sides, the peaceful populace just trying to live has no laidback recourse to cultural stability.

Most people that I've met aren't irate belligerent militaristic madmen, they'd rather live a productive life in prosperous peace with their friends and families.

A stable economy, routine work, a dependable living to support domestic endeavours, aren't these things much more valuable than obsessed hatred and compulsive chaos?

You only have to momentarily consider something as wholesome as a community park, and the far-sighted caring commendable people who preferred such an idea to sequestered solace. 

Is the park not freely available to everyone, regardless of race or religion?

It would be cool if far-sighted knowledgeable politicians kept track of radical war mongers, the people advocating for the spread of war, using words like "natural" and "inevitable".

They could keep a list of these people and should a horrendous day come when war actually broke out, ensure that they're sent to the front lines for the entire conflict, where they'd be given plenty of opportunity to prove their mettle. 

Life's the most valuable asset we have after the choice is made to have a family, and real men and women opposed to wars and conflicts know the value of peace and stability.

They know it's a much more divine conception of honour to peacefully and compassionately love friends and family, to uphold traditions and seek continuity within playful reason generation after generation.

The love of good food, a glass of wine, the reliable networks that cultivate consistency.

Why listen to politicians who would challenge that?

To profit people who have nothing but contempt for you?

Superman shows up during the credits so there may be hope for the sequel.

But the Rock is too influential a star.

And I didn't like his character's contempt for life.

Friday, March 1, 2024

Black Panther: Wakanda Forever

Pink Floyd was in a bind after their leading member became incapacitated. But they regrouped and dug in deep and years later wrote Dark Side of the Moon (and Atom Heart Mother and Meddle).

I can't think of another band that held it together after their leading person sort of passed, and even went on to improve upon his work, not that I still don't love listening to Piper.

In a similar way, but under much different circumstances, Marvel's Black Panther lost Chadwick Boseman, and likely had to make considerable adjustments to keep things real to narratively excel.

And I couldn't believe it.

Flabbergasted, if I'm not mistaken, is the word.

Wakanda Forever is like limitless joy radiating infinite happiness in a never-ending ocean of strength, illuminatingly upheld with fluidic fortunes nascently enabling elaborate forum. 

A major takeaway for anyone whose ever been pissed off about what happened to Indigenous South and Central America.

I try not to think about it because it's so uniformly frustrating that it obscures clear thought, and opens doors to distressing depression especially when you see it happening again.

Nothing can be done about it, but fiction doesn't play by the same mortal rules, and in Marvel's Wakanda Forever, Indigenous South Americans are a potent factor.

They survived thanks to a special flower the existence of which was revealed to them by their god, which transformed them into vibrant merpeople, who then made their home far beneath the open sea.

Not just a home, there's so much respect, like the respect given to African Americans through the creation of Wakanda, the extant versatile Mayas and Incas having built a formidable civilization under the sea.

They also ride whales and admire turtles Wakanda Forever totally jamming with Whale Rider, not only by introducing integral whales but also by championing prominent female characters.

It's like a monumental Indigenous/Feminist/African inherent feat of incredibility, with total respect given within, in terms of equality, ingenuity, and innovation.

Nature isn't forgotten as well the miraculous existence of any given species, is venerably compared to Wakandan and Talokonil technology, the cultures prospering through cultural symbioses. 

Like Pink Floyd, Marvel held it together and created another action packed inspiring phenom. 

The ocean is undeniably vast. 

Who knows what lies underneath?

*If Namor wants to buy Black Panther Shuri a present, I recommend picking up a really cool bike.

**Wrote this on Friday night after having a swim. 

***I know humpback and orcas get the most press because watching them jump is amazing, but don't forget about all the other whale (and turtle) species out there. They need representation too!

****There are a lot of bad things happening in the ocean, considering the infamous garbage patch and the intense underwater sound disturbances. The Talokonil (and the Metkayina) could tackle some of those issues in these films. I can't believe how much I love them. 

Tuesday, February 27, 2024

Mo' Better Blues

A resourceful mother expeditiously seeks potential employment for her talented son, and wisely purchases a musical instrument for him to learn to dynamically play.

It means a bit less free time but he puts in the hours and develops a style, which transforms into a sought after act on the New York scene several years later.

He becomes a renowned band leader playing each night at a fashionable club, with a solid group deftly backing him up, and versatile friends animately adoring.

Trouble's a' brewin' nevertheless his manager's unable to renegotiate their contract, and they could be making so much more considering how many people come nightly to see them.

His saxophone player's just as good as he is too if not better they make quite the team, but like so many other famous acts with two leading men, conflict arises as egos exasperate. 

Gambling's a big issue too and that very same manager gets in way too deep.

The pressure, the rivalries, the contract, the romance.

Everything suddenly comes crashing down.  

Band conflicts didn't make sense to me when I was really young and I always loved it when they held it together, or didn't frequently change their line-ups, which I briefly studied in a Rock'n'Roll Encyclopedia. 

Pink Floyd's leading men held it together for so long, The Guess Who for a shorter time period, The Beatles making the most of their time together, Jagger and Richards only briefly splitting up (Union by Yes unavailable on Apple Music). 

The Benny Goodman Jazz Quartet can't be beat in my opinion. What incredibly quick inspired jams! I've never heard anything like it. Lionel Hampton doing so well with his own bands too. 

Playing cards can be a lot of fun but I would recommend not making it your principal goal, unless you have no responsibilities or bills, and don't really mind if the house always wins. 

I'm not saying you can't win at a casino but you should intently study before making your bets.

There are quite a few books that can help.

And I imagine hundreds of YouTube videos.

But still even then the odds favour the house but on one special might you might just get that lucky.

If you want to bet on sports, just practice beforehand.

You can easily find out if you know what you're doing.

Friday, February 23, 2024

The Island of Dr. Moreau

Lost, adrift, on the vast imposing interminable Pacific, rage erupting, thirst infuriating, until rescue emerges, with aloof repose. 

Douglas is taken to an isolated island where he's given time to rest and recuperate, still taken aback when he distressingly notices, that his room's been tightly locked down.

Not one to embrace incoherency, he soon picks the inordinate lock, and begins spying on the strange inhabitants as they experimentally express themselves. 

But lo and cross-breedingly behold, he's rather shocked to invariably find, that the secluded scientists working on the island, have created a colony of industrious mutants.

He tries to expediently escape but finds himself cut off from aquatic crafts, then chaotically immersed in a self-contained world presided over by a distant demagogue. 

It turns out he's applied his genius to the novel creation of a forbidden realm, wherein which beasts must cast off their ways and politely live like civilized humans. 

Unfortunately, order is upheld through the authoritarian dissemination of pain, each hybrid animal arrhythmically attached to a remote control which punishes disobedience. 

For most of the modest citizens the rules aren't particularly hard to follow.

But some question Moreau's civility.

And covet his daunting absolute impetus. 

Ah the perfect world idealistically enrapturing innate truth and justice, perhaps even flourishing here and there at times before newfound tensions and jealousies disrupt things. 

A logical world delectably defining codes of conduct and cerebral sentiments, through which harmony and balance are perennially restored through the judicious elevation of enlivening discipline. 

Alas, illustrious logic and reified reasonability don't prosper unchallenged, and the people lacking control of the spirited unity seek the recodification of the rules and regulations. 

Often trying to make a complicated system too simple (politics), or a simple system too complicated (commerce), while prohibiting the attainment of bountiful resources, the accumulation of which would pacify many.

But not all, the desire for power madly drives the overly ambitious to fits of frenzy.

Moreau's island destroyed and reconstructed every day.

Ingenious creation.

Dispersed manifold.

Tuesday, February 20, 2024

Spiderhead

The pursuit of manufactured obedience follows the pharmaceutical path, as Spiderhead's solo unattached dismal warden despotically pursues reckless inactivity. 

Unsupervised with serious responsibility he develops several potential new drugs, and tests them on his prison's inmates every decision he makes of his own free will.

Fret not concerned enthused viewer, he wants to keep things friendly and fun, and even strikes up acquaintances with his test subjects while becoming addicted to the drugs himself.

They're far off so far away inimically isolated from spirited criticism, idyllic mad spontaneous digressions only provocatively questioned by one rogue assistant. 

Seeking to make billions on joy and happiness not to mention free form conversation, he still can't dishonour discreet somnambulism with soporific sequestered sedulity. 

Problem: to make sure the obedience drug works he needs to challenge ethical parameters, and see if people will do horrifying things simply because they've been recommended.

Thus, he convinces a test subject to administer his "paranoia" drug to another, but "paranoia" isn't really the right word, it rather encourages excessive terror. 

The subject's driven to suicide after the dose is accidentally augmented. 

But genuine guilt indeed manifests.

With the mass megalomania in jeopardy. 

Here we go again with the pursuit of hegemony unilaterally applied, attempting to accomplish sadistic ends to alarmingly overwhelm free choice and expression.

Odd how so many people spend so much time consuming arts and entertainment, while also cutting down creative synergies, the 1970s and David Bowie were miracles.

The irony let loose in Spiderhead is that independence itself seeks mindless automatons, who'll listen and follow the guidance of whomever no matter what the proactive cost.

Like the dreamy demagogue preaching equality who locks everything down after the revolution, Abnesti proceeds to definitively ensure no one else like him will ever co-exist. 

As others have likely suggested, is it not better to mal/adroitly attune, independent instincts to constructive endeavours to promote diversity and innovation?

Without such inherent expression does decay not metastasize with fetid impersonality, and prevent the development of sundry alternatives from multivariably delineating enchanted metamorphosis? 

Never stop writing poems just because you're convinced someone else is better. 

Keep writing absurdity ad infinitum. 

Who cares if no one else is interested?

Friday, February 16, 2024

Alienoid

Imprudence exceedingly deteriorates an unorthodox prison constructed by aliens, when a particularly rebellious inmate is radically set free by robotic insurgents (hopefully their next stop's Russia around this time last week!). 

The jail consists of human hosts randomly chosen due to time constraints, the extraterrestrials placed within their bodies and left there (theoretically) dormant to slowly fade.

To make them more difficult to locate different time periods are meticulously mobilized, aliens resting in different bodies everlasting throughout time. 

Obsessions with magic periodically erupting should an alien escape two cyborgesque guardians arrive, their remarkably fluid technology enabling atemporal matriculate moxie. 

In the opening moments, one such innovative captive escapes, chaotically perishing in the ensuing confrontation, her host's baby daughter left alone and helpless, her lifeforce still indicating rampant resonance.

The guardians take her back to the present and improvisationally raise her as best they can, Yi-an (Kim Tae-Ri/Choi Yu-ri) slowly figuring things out as she ages, a unique inquisitive non-traditional childhood.

But the aforementioned shipment of criminal aliens eventually arrives to usurp and challenge. 

Proving too volatile for the resilient guardians.

Who can only defeat them through the passage of time.

That would be cool to have a special device which lithely facilitated forbidden time travel, not only to voyage to different times and observe, but also to hide vital treasures throughout history.

Divergent ideas im/materially motivating newfound visions and corresponding networks, the careful management of ingenious works may modestly encourage enriching contemplation.

Should time munificently permit the dynastic emergence of cartotemporal relevance, consistent multilateral mechanisms may spellbindingly enchant with rhythmic reticence. 

Perhaps more suited to the far distant past classic literature and museums performing similar functions, different generations reimagining first contact to inspire insurrections within established genres. 

But Chinese and Japanese cultures developed so much earlier than European customs, and have cherished artistic traditions for thousands of years give or take a century.

Unfortunately, conflict and power-relations may have led to many incredible works being lost, but how many of them were also preserved?, I don't know much about such history.

Nevertheless, if you had something precious to be wondrously showcased without fear of theft, managing different personas throughout time may lucidly enable multifaceted continuums. 

Perhaps another goal for alchemists should they discover the elixir of life.

Too complicated for me I'm afraid.

I thought Alienoid was amazing (with Twin Peaks characters).

*Looking forward to the recently released sequel.  

Tuesday, February 13, 2024

Athena

A chilling video is released depicting police violence in an unsettled town, where tensions run high and misperceptions embroil as many hardworking people just try to earn a steady living.

A noted family takes opposing sides after it's announced their brother was murdered, Abdel (Dali Benssalah), a celebrated war her who works for the police, urging calm, Karim (Sami Slimane), his volatile younger sibling, suddenly erupting with insurgent fury.

He leads a group of friends into a local police station which they ransack, taking the weapons back to an apartment complex where they prepare for a wild confrontation.

The police show up in force as similar uprisings break out around France, people tired of the reckless violence taking matters into their own chaotic hands.

But it soon becomes apparent that the video was staged by sadistic members of the belligerent far right.

Attempting to start a race war to further their mad agenda (with Google's Magic Eraser?).

Easily facilitated by the lack of oversight on social media. 

It's a disastrous grim scenario hypothetically engaged with extremist tensions, that points out the necessity of police restraint, and the overarching danger of unhinged fake news.

The news is much more healthy in a widespread differentiated spectrum, where sundry journalists are committed to the truth and manifold independent papers fact check ad infinitum. 

In Canada, Bell Media just cut another 4,800 jobs from its shrinking mainstream newsroom, meaning even fewer people with be responsible for the official news, the smaller the number, the greater room for error. 

And as a lack of trust emerges it's much harder to follow a small minority viewpoint, which indubitably pursues its own interests, the news should be expanding, not contracting.

It is expanding online with another 4,800 people now looking for work, some of the them may have to criticize vaccines or promote electoral fraud to pay the bills, hopefully not, but those stories aren't going away.

Athena takes a hard-hitting look at the inherent dangers of provocative intrigue, and the ways in which honest hard-working citizens have their lives torn asunder by base collusion.

Fact check your sources and be patient sometimes it takes a while for a story to unfold.

There are new media outlets currently blossoming who still respect the truth as their modus operandi (like the National Observer)(nothing associated with Trump). 

Note: they aren't trying to start a race war.

And they can take it when they lose an election.

*Athena is the best film I've seen so far on Netflix. Super impressed for sure. It could have played theatres no doubt. And found a huge receptive audience (like it probably has on Netflix too). 

Friday, February 9, 2024

Nomadland

An entire town picks up and moves after the mine shuts down after 80 years, the rural location never resourcefully blossoming into a multi-integrated industrious locale.

What do the reliable people who have lived their whole lives there do however, it's a bit of an unsettling preponderancy especially considering the magnetic wilderness.

Fern (Francs McDormand) tenaciously improvises to her new set of challenging economic circumstances, earning enough money to live off at different jobs, while taking deservéd time off in between.

Her husband passed away not long ago and she has no children or viable pension, she has family who are kind and sympathetic, but she's always prided herself on her independence. 

It's cool how the continental United States has so many warm regions during the winter months, and you can literally move from state to state throughout the progression of the solar year.

I suppose you could try to live in your car during a cold and provocative Canadian winter, but you'd have to spend a lot in gas to keep the heater running so much of the time.

Not only does Fern live the nomadic lifestyle she boldly defends it in critical arguments, democratically pointing out the rights of citizens who may not be as well of as those homeward bound.

Even when she's overwhelmed she doesn't hesitate to have her say, and isn't worried about spoiling the evening or what her in-laws may think later on.

A hesitant beau is interested (David Strathairn as Dave) and should have realized she's a heartbreaker.

Who loved that mining town.

And doesn't mind life on the road.

I don't want to recommend the nomadic lifestyle to the millions of people embracing bourgeois domesticity, I've found that what sounds appealing to me at times gets me into trouble when I start to advertise. 

But assuming that you're level-headed peeps who aren't going to drop everything because of an oddball blogger, I have to admit that I loved Nomadland's final moments, when Fern freely drives off into the mountains. 

Some people like the dynamic thrill of constant movement and unpredictable designs, their labyrinthine zigzagging ways non-traditionally motivating alternative economies. 

It often sounds like freedom to just live in your ride and travel the country, picking up work here and there as you go, assuming you don't have any responsibilities. 

You'd get to see so much of the continent as you productively roamed vigilantly throughout, there are thousands of places to visit, and wouldn't it be cool to see NFL and CFL games in every home city?

Fern chooses life on her own and as I watched I thought she was real.

It's tough to think that people her age still have to work.

You'd imagine we'd have cleared that up by now. 

*Geez Louise. This has nothing to do with the war in Palestine. I wrote it last week. There's a lot of rural industry in Canada so it's important for the different towns to integrate multidimensionally so people don't have to move (easier said than done). Honestly, I think Netanyahu's a butcher (as is Hamas), and his appeal to the stone age is making things infinitely worse, historically speaking. 🥲

Tuesday, February 6, 2024

Stillwater

A father whose tumultuous routine led to an awkward relationship with his struggling family (Matt Damon as William), is consumed with obsessive guilt several years later when his daughter's arrested (Abigail Breslin as Allison). 

She's found guilty of resonant murder and sent to prison near the coast of Marseille, her father visiting her there when he can, the flights expensive, work hard to find.

She emphatically proclaims her innocence and on his most recent visit reveals a clue, which gives him reemergent hope as he soon tries to get her case reopened. 

Obdurately blocked however by pressing realities within the law, he buckles-down and radically adjudicates by trying to find the suspect himself.

Problems: he doesn't speak French and is oblivious to local custom, he's also spent most of his life in the rural American mid-west and is generally uncertain as to how to proceed.

Moving forward nevertheless fate soon secures a definitive lead, and provides shelter and cultural refinement not to mention employment and domestic salvation. 

But to find the irascible murderer he may have to pay too high a price.

Caught between cultures and families. 

He instinctually reacts with western-style gusto. 

Expediently extemporary the ethical dilemmas contract and metastasize, no easy answers no glib illumination as a hard-boiled family deals with its own.

As newfound chances wholesomely radiate and enlivened parenthood intricately seasons, bad decisions still surreally occupy a bitter frustrated entombed consciousness. 

He's willing to risk everything he's gained on an assuréd probability which crosses the streams, if things work out, tout va bien toujours, if they fall apart, it's worse than worst case.

Not only that, it soon becomes apparent that his daughter's innocence is not that clear-cut, and that the investigation held in accordance may not have been led quite so far astray.

I wouldn't have taken such a risk new life's far too precious for improvised risk management, it does bring about the sought after ends, but they could have been achieved through less threatening means. 

In terms of a neo-western-film-noir mind*^*& Tom McCarthy's Stillwater internationally succeeds nonetheless.

Nothing quite like amoral gristle.

Destitute detritus.

Mid-winter mayhem. 

Friday, February 2, 2024

G-Loc

There's always the possibility of another ice age.

At times, as global heating seems to be presenting a scorching vituperative evaluation of technoprogress, as if fossil fuels were in fact the Earth's effervescent lifeblood which it was none too willing to freely disseminate, my thoughts counterintuitively stray to the other chaotic extreme, and wonder what brought about the last ice age, so many millennia ago?

We clearly weren't responsible, it must have had something to do with our distance from the sun, as if our orbit temperamentally expressed mad frigid interminable armageddon. 

Others clearly think this way as cinematically indicated by the icy G-Loc, which sees frozen wastes consume the Earth, as people desperately seek food and shelter.

Fortunately, as if a benevolent deity serendipitously sensed our grievous peril, a miraculous wormhole appeared at the same time, offering courageous peeps an interstellar lifeline, time passing at a different rate in the alternate dimension. 

Nevertheless, as if that very same deity's most clever rival awaited on the other side, humans were generally shunned by the resident Rheans who traditionally occupy that region of space.

In this tale, two fearsome individuals, one Earther (Stephen Moyer as Bran) and the other Rhean (Tala Gouveia as Ohsha), must learn to constructively work together or find themselves floating woebegone lost in space.

Ill-accustomed to habitual diplomacy their mutual trust comes at a sharp premium, as different cultures maladroitly clash with no apparent purpose but to illogically destroy.

A well-meaning spirited tale soulfully suited to contemporary times, as refugees from the Middle-East continue to flock to more peaceful regions.

Not to forget the troubled Rohingya who have been searching for homes for forever, these free peoples in need of compassion to end their death-defying plights.

G-Loc steps things up a notch and turns the entire planet into a refugee group, intergalactically headed for a far distant planet where no one has even ever heard of their freakin' species.

Perhaps hoping that a lack of knowledge may inspire sympathy for their personal legends, astral alchemy synchronously applied, to solar caravans in spatial deserts.

Of course, a distrustful government sees itself losing hold of its traditional hegemony, and soon finds ways to demonize the Earthers not unlike those presented in Jodorowsky's Holy Mountain.

Does it not seem much more cruel and horrifying when xenophobia is applied on a planetary scale, not simply between countries and continents, but rather to everyone existing on Earth?!

Why then must it be so problematic to peacefully aid weary refugee travellers?

There's a ton of room in Canada and Québec (look at the window when you're on a plane).

Assuming it doesn't get too cold. 

Tuesday, January 30, 2024

Old

Engaging thrilling prospects.

Resortful relaxation.

Pack up the fam, head down south.

Fare thee well road weary travellers.

The Cappa(bara) family takes such a spirited initiative, and soon arrives at a stunning locale, where others await and luxury accommodates, the stay promising to be uneventful. 

Briefly after settling in, a special opportunity is secretly presented, a coveted invitation to lounge for a day, reputedly favoured spry striking resiliency. 

Soon they're off with a gourmet spread stretched out and chillin' at the isolated beach, the families engaged in freeform conversation when it becomes apparent that many of them are sick.

Even worse, after an even shorter time it appears as if the young ones have suddenly sprouted, and that everyone is aging indeed, at a rapid unusual alarming pace!

Different methods of desperate escape naturally present themselves without much thinking, each of them as treacherous as the last as the woebegone venturers routinely phase.

And just as Horror Beach or Death Beach seems about to claim its final victims. 

Escape ideogrammatically matures. 

Having been nurtured throughout the ages.

Star Trek themes and plots terrestrially abound in the seductive Old, as rapid aging and medical malfeasance malpractically matricurate along the coast. 

Certainly a creepy caper reminding visitors never to leave the boat, for they may find a pandemic peculiarity contraceptively constructed with scampy decorum. 

Nazi scum experimented on humans as do the fascist Cardassian monsters, such a practice to be met with sincerest defiance, through the aggrievéd art of humanistic condemnation. 

Had the beach's unique capabilities been made strictly known to concerned public agencies, there's no doubt reasonable decorum would have efficiently encouraged effective recon.

It would have made a cool nature documentary since as far as I know nothing quite like it exists.

Just to learn about, like bears or wolverines. 

To remain aware, never to be forsaken. 

*The idea may have come from reckless government initiatives hoping to store toxic waste near vital aquatic resources. 

Friday, January 26, 2024

2067

Spoiler alert.

A grim environmental forecast depicts an uninhabitable world, whose air has become so toxic plant and animal life no longer breathes.

Special masks facilitate community as one last industrious enclave holds out, underground crews working day and night to eclectically maintain the grid's survival. 

Unsuspecting and unaware a gifted technician is suddenly told (Kodi Smit-McPhee as Ethan Whyte), of his bizarre relationship with the future which his genius father cultivated. 

He's tasked with venturing forth through time to find a solution to the crisis, endemic flora that has adapted and in turn healed the ailing world.

Uncertain as to how to proceed he courageously heeds the call nevertheless, and soon finds himself in a future world where trees and plants freely grow partout.

He also discovers his corpse and a highly advanced technological device, which recorded his last interactions and provides haunting evidence and messed up clues.

Soon his closest friend startlingly arrives to lend a hand (Ryan Kwanten as Jude Mathers), but it appears he may not be interested in the cultivation of universal levity. 

Indeed he's come to goonishly ensure that only a select few survive. 

By travelling through the portal.

Abandoning Earth to its chaotic fate.

Nice to see such an embowered ending flexibly fostering collective hope, without much covert underlying foreshadowing, cool to proactively see. 

Australia's making some thoughtful headway into the realm of science-fiction, notably through the art of time travel, I still love these atemporal conceits. 

What I loved about 2067 is that it's not concerned with the select few, it seeks to harvest multivariable accolades from wide-ranging intricate diverse spectrums.

It's leadership it's practical knowledge of what's been done and what can be attained, when cultures emphasize sundry different interactive humanistic applications. 

Even in times of greatest sorrow the humanistic will to cultivate community, and curate widespread prosperity still constructively motivates goodwill. 

Still upholding multifaceted life.

Collective unity.

For generations onwards. 

It doesn't seem like that tough of an equation, it's a huge downer when it doesn't compute. 

Tuesday, January 23, 2024

Bandit

A criminal breaks free from an American minimum security prison (Josh Duhamel as Robert), and crosses the border into Canada, soon looking for work and lodging as the police search frustrated in vain, the 1980s much less suspicious and routinely hysterical, he doesn't blend, without standing out much either.

He still lacks identity cards and cash so he needs to creatively conjure convincingly, fortunately securing a place to stay, without much luck finding steady employment.

Not really cut out for the workforce, indeed brave but also quite lazy, he soon takes to robbing banks for small sums, and proceeds to do so across the country.

At the same time, his parter matter-of-factly announces she's about to bear young (Elisha Cuthbert as Andrea), filling him with enlivening ecstasy since he's always wanted to have a family.

His lifestyle rather ill-suited to traditional bourgeois relational trajectories, he feels somewhat isolated however, yet rather than attempt to learn a trade and embrace regal commerce and industry, he seeks the backing of a local gangster (Mel Gibson as Tommy), and malfeasantly reengages. 

Things proceed quite successfully for awhile before a local task force takes note.

His wife also figuring things out.

Accompanying him thereafter, from time to time. 

I know the pandemic was a difficult time during which it was particularly hard to make movies, and film studios had to green light questionable scripts and move forward with rash decisions, the period we're in now perhaps one of the worst in cinematic history, does that still excuse Bandit's lacklustre writing, lack of conscience, homophobia and general malaise?, no, I'm afraid it doesn't, this film's a directionless amateur train wreck.

People with no artistic skill and a lot of money still attempt to make commercial movies, and they think it's remarkably easy, and proceed with undaunted confidence in a pleasant atmosphere lacking critical aplomb (Mel Gibson most likely rewriting his lines), no stirring voice providing comment and criticism, good god, was this script even edited?

Bandit falls into the new filmmaking category which functions like grassroots bludgeoned briars, Ronald Reagan is therefore celebrated, and work and a steady job for chumps and fools, anyone limiting the fun a homosexual (the police for instance), they appeal to Robin Hood, but this guy's just a piece of shit.

The major transition hasn't taken place but hopefully things improve since restrictions have been lifted.

Some pandemic films were pretty amazing (Babysitter, Viking).

At least a couple of standouts slipped through. 

Friday, January 19, 2024

Gojira tai Mekagojira

An ancient island peacefully existing off the enlivening breathtaking coast, known for its stewardship and amiable governance suddenly embraces emergent chaos.

A prophecy enigmatically predicting the brazen arrival of a destructive monster, haunts the descendants of the Royal House which once freely administered the land.

Nevertheless, said prophecy also foretells the upswing of two courageous protectors, to halt the progress of the beast, and reinstate harmonious accord.

Without much pomp and circumstance the fated creature uproariously arrives, and begins pugnaciously a' plundering the calm and tranquil unsuspecting countryside.

Looking indeed rather like Godzilla yet not on friendly terms with his monster friends, it soon becomes apparent he's a massive robot after the real Godzilla burns off his skin!

Confrontation leads to complication and soon this Mechagodzilla needs repair, a reputed scientist coerced into fixing the damaged mighty formidable automaton.

When he's once again unleashed will Godzilla disputatiously authenticate?

With the help of the island's mythical saviour?

Once again, it is the legend.

You never know what to expediently expect when the aggrieved Godzilla supernaturally awakens, has he reemerged to engage in conflict or act as combative spiritual advisor?

In Mothra vs. Godzilla it's clear that he's furious with the mainland, and seeks uncompromising visceral discord as he belligerently proceeds forward.

Yet in Gojira tai Mekagojira he demonstrously radiates heroic acculturation, and sets about saving the honest land from covetous invasions from outer space.

Thus, it seems that ye olde Godzilla isn't instinctively interested in traditional teamwork, otherwise he would have noted a keen and like-minded ally in the bellicose bombastic bellwether beast.

Therefore, it appears Godzilla of old prefers to unleash carnage on his own, and must take the lead if disruptively disabling versatile socioeconomic infrastructure.

Hence, he's somewhat like an immortal and intuitively agrees there can be only one (in monster movies), I suppose it would be quite the problem if manifold Godzillas were roaming at large (note the current upsurge in right wing politics).

But has anyone ever considered a Highlander/Godzilla crossover where manifold Godzillas contend for the prize?

Would it be any less ridiculous?

Godzilla Highlander.

Or Highlander Godzilla?

Tuesday, January 16, 2024

Moonfall

While conducting routine work in space, a strange Venom-like entity belligerently cascades, proceeding to wreak extraterrestrial havoc, its malice resulting in one fatality. 

Back on Earth the lead astronaut's (Patrick Wilson as Brian Harper) pleas find no bureaucratic quarter, and with no proof the higher-ups conclude that he was responsible for the accident (classic Aliens).

He loses his astronaut status and must return to civilian life, his marriage soon falling apart, it's a huge downer, but he keeps things cool.

Meanwhile, a self-taught scientific theorist works odd jobs to pay the bills (John Bradley), while finding creative ways to observe data, and taking care of his cat and mom (Kathleen Fee). 

He accidentally meets Mr. Harper one morning and unfortunately fails to impress, but his work gains more attention when NASA acknowledges the moon's shift in orbit.

In possession of a working theory regarding the moon's new alarming trajectory, the disgraced astro hooks him up with NASA (they're like a less/more campy Flash Gordon and Hans Zarkov), his old partner now its managing director (Halle Berry), the moon about to disastrously crash land.

They improvise a plan nevertheless and are soon extemporaneously space bound.

Destined to adventurously uncover.

Humanity's chaotic origins.

Moonfall's quite the ride the action's fast-paced and non-stop throughout, improbability delineating progression as each new leap is overtly field-tested.

It reminded me of Independence Day almost 30 years later Roland Emmerich's still got it, no doubt crafted through intuitive expertise, and first hand knowledge of cataclysmic virtual reality. 

Spoiler alert: loved how it took on A.I with an ingenious reworking of the Terminator thesis, it does seem likely that self-aware computers will cause quite the disturbance in the nanofuture.

That disturbance may counterintuitively save the planet or at least humanity's role upon it, however, the survivors forced to relearn old school ways to make the most of a world without technology.

Scouts will once again be a big deal and take their place at the forefront of society, while animal populations rapidly expand and our once limitless oceans resplendently recover.

You wonder sometimes about Roswell and if all this technology is somehow related (as I imagine many others have supposed).

But why would aliens want us to create A.I if it's indeed destined to objectively destroy us?

It could be a trap ingeniously devised!

To get us to annihilate ourselves to save on the costs of an invading army. 

😜

Friday, January 12, 2024

The Lost City

A famous adventure/romance novelist (Sandra Bullock as Loretta Sage) begins to question her professional identity, when the launch of her latest book fails to inspire commercial motivation.

She's done it so many times that the book tour and associated hoopla, seem too superficial to sincerely entertain even though her adoring fans can't wait.

She's jealous of the easy going male model (Channing Tatum as Alan) who adorns the covers of her texts as well, he loves the media sensation, this doesn't evince discerning pageantry.

After she turns the anticipated launch into a dire ill-fated farce, she seeks in vain for heartfelt felicity, before a covetous mean-spirited billionaire (Daniel Radcliffe as Abigail Fairfax) suddenly has her kidnapped. 

She's flown to a tropical island and tasked with locating enticing treasure, local Natives imploring them to leave it alone, the alarming obsession metastasizing madness.

Alan soon follows along with an Indiana Jones/James Bond type rescuer (Brad Pitt as Jack Trainer). 

Ill-prepared for the ensuing task force.

Still improvising with resonant throng. 

The Lost City embraces traditional stately oft criticized tropes and accessories, yet effectively makes the age old adventurous point, that its principal goal is to just entertain. 

Therefore, I had to ask myself, am I genuinely enjoying this film?, beyond multivariable criteria, and I had to admit, I was.

I was lightheartedly reminded that novel bizarre stylistic independence, and counterintuitive literary jigsaw, don't imaginatively motivate some, who are more concerned with intuitive fun.

I suppose a lot of the time it isn't the mischievous wordplay, but just hot bods and romantic adventure that make people interested in watching films.

I also suppose it isn't the goal of many to only enhance the authentic aura, of low-budget brainiac films perhaps one day destined for whimsical cult status (it doesn't make any sense!).

The pandemic's cut me off from theatres and my lifestyle changed as time moved on, and I found for the first time in over a decade I had what is known as free time.

I love the free time I have to just to sit back and listen to music.

But movies are meant to be seen on screen.

The direct experience deconstructing cynicism.  

*Loved the Raiders/Terminator pastiche near the end.

Tuesday, January 9, 2024

Oppenheimer

Nuclear weapons are a horrible thing.

They're easily the most reckless anything anyone has ever created, and it's an international miracle the secrets of their creation have been kept under lock and key to this present day.

For a while it seemed like their manufacture would become a thing of the past, as Russia and the United States struck accord after accord, and seemed ready to cultivate lasting peace throughout a united interactive world, wherein which difference wasn't something to be feared, and absolutes were nothing more than sewage.

But this historical epoch is partially defining itself in opposition to the last 30 years, as Trump has arisen to challenge them, so instead of a brilliant film like Planet of the Apes (1968), which effectively obliterated arguments in their defence, we have Christopher Nolan's Oppenheimer, which revels and glorifies in their creation, overlooking the ill-fated Planet of the Apes sequel, Beneath the Planet of the Apes. 

Paying disingenuous lip service to the ways in which madmen can use them to coordinate mass destruction on a planetary scale, it instead introduces several powerful independent scientists, and examines various controversies as they jockey for position.

Thus, two prominent individuals see their reputations slowly ruined as the film bureaucratically concerns itself with bilateral character assassination, without really generating much character along the way, besides that associated with blind innocence and petty grievances. 

It's more like an academic paper with no sense of objectivity than a convincing film.

Prometheus taught the people to make fire so they could cook their own food and have warmth and entertainment.

Anyone who would have denied them such knowledge is certainly not worthy of divinity. 

Oppenheimer coordinated a team that built a nuclear weapon with the power to kill hundreds of thousands that select military officials can use hopefully only as a deterrent. 

Do you see how Prometheus is not like Oppenheimer? How the comparison is ridiculous?

It does seem more and more like Christopher Nolan is the military industrial complex's darling, as they note in Barbie, the patriarchy just hides its hegemony more effectively these days, and whereas Oliver Stone actually made an incredible film looking at the ways in which JFK's murder was covered up, Nolan's Oppenheimer creates a Republican rib roast to be saluted for years to come, while presumably catering to democratic sympathies (JFK didn't win best picture when it should have [Oliver Stone also made a film that lauded Edward Snowden, it didn't make the case for the mass institutional invasion of privacy through cellphones like Nolan did at the end of The Dark Knight]).

I used to have a friend who was nice to talk to but sometimes didn't take her meds, and thought she heard voices in the walls of people discussing this and that.

I tried to ease her mind when these thoughts would overwhelm her late at night, and even though nothing could convince her that the voices weren't real, the conversation helped lighten the anxious mood.

In turn, it was nice to have someone to talk to, to know someone who didn't quickly change their tune, to have a sympathetic yet mischievous outlook to clarify trajectories and nothing in particular.

She tolerated my French too and even taught me a couple of words. 

I like being nobody in Québec.

And I'll always love working and living there. 

Friday, January 5, 2024

Barbie

It was sad to see the self-reflexive metastyle slowly fade out of cinematic fashion, as the urge to cultivate newfound novelty eventually led to paradigm shifts.

Rather than adhering to the comprehensive guidelines enthusiastically theorized by the critics, the slow return to banal absolutism cacophonically effaced the convivial endeavours. 

Yet as Trump and his minions sought to rework complicated literary trajectories, patriarchically concerned with eternal slaves and masters, a more symbiotic environmental approach gregariously germinated in the wholesome underground, ill-amused with everlasting tethers, and holistically seeking reciprocal gratitude. 

Thus, as the years slowly changed from the 1990s to the 2020s, an intermittent zone materialized, and the do-gooding and collective well-being of the post-war years clashed with feudal modes of expression.

The times during which they had once been employed with malignant rigour and destructive candour having faded from collective memory, the brigands dishonourably proceeded as if they had created something new.

Was it indeed more popular or were studios just attempting to mutate and froth, as a younger generation took the reigns, and vitriolically dismantled their elders's designs?

I didn't think the honourable pursuit of collective well-being and respect and goodwill, was a fad to be gradually replaced however by one-dimensional monocultural narratological goals.

It didn't seem like casting aside relevant millions to tell crass racist jokes, was commensurate with integral progress as commercial interests teleologically contend.

Alas, to rely on Barbie the oft criticized popular doll to redraw the lines, and perhaps create spherical counterintuitive shapeshifting threads like cats playing with multicultural yarn.

Symbiotically speaking, the world of men and women excelling when a level-playing field emancipates, lay androgynous mutual convection, when it works it's totally comfortable.

The world of course multilaterally pulsating to the tune of manifold international drums.

So much passing by unnoticed.

As prominent prognoses ebb and flow.

Tuesday, January 2, 2024

Mothra vs. Godzilla

A mysterious giant egg suddenly appears off the Japanese Coast, its contents baffling yet still intriguing, as diverse interests eclectically gather.

Unfortunately, environmental initiatives fail to posture before the egg is (absurdly) sold, by local entrepreneurial opportunists hoping to monumentally prosper.

A more ambitious wealthy exhibitionist hopes to create a theme park through Happy Enterprises, and entertainingly showcase the egg while also selling treats and delicious refreshments.

Concerned journalists soon learn of the plot and set about cultivating public opinion, hoping to create a massive uproar which may encourage government intervention.

They lament that there's no legal recourse to directly challenge the developers in court, especially after two miniature citizens suddenly arrive from Mothra's island.

Apparently, the typhoon sent Mothra's egg on a disquieting maiden voyage, and they've come to argue for its return especially since noble Mothra is dying.

The adventurists care not for her plight and refuse to give up their lucrative treasure.

Just as Godzilla comes a' callin'.

Hellbent on countercultural carnage.

A crash course in socioeconomics instructively awaits in Mothra vs. Godzilla, perfectly laid out with accessible language which any curious audience member would easily comprehend (with English or French subtitles 🤷).

Mothra vs. Godzilla may even indeed be a solid didactic tool to be used in classrooms across the land, schools effectively saving resources and time by simply showing this ridiculous film.

Perhaps that's what happened, there's no equivocal doubt that environmental regulations in some jurisdictions are much stronger, and that if you want to develop land like Ontario's Greenbelt, you first have to acknowledge local regulations.

Thus, the public outrage the journalists seek to nurture in ye olde Mothra vs. Godzilla (Mothra shows up in spellcheck but Godzilla doesn't), would likely also be backed up by laws progressively created over the course of the last century.

Hence, instead of bravely spending the last moments of her life epically battling the formidable Godzilla, Mothra could have cared for her fledgling young and perhaps even named or taken them for their first flight.

Perhaps Godzilla disputatiously emerged to figuratively encourage the creation of such laws, I've seen several nature shows about Japan, and it seems as if their wildlife is flourishing (except for whales 😢😭😿🐋).

Sad that Mothra had to physically give her life for such a turn of events to jurisprudently take hold.

Her larvae born argumentatively composed.

Their perspicacity irritating the aggrieved Godzilla!

Friday, December 29, 2023

Polaris

Monopolistic claims to constellated starstruck legend, find themselves creatively trust-busted in Kirsten Carthew's wild Polaris.

The times are grim and perilous and other people are to be avoided, their habituated menacing murderous instincts bellicosely problematizing friendship.

Sumi (Viva Lee) was raised alone by a kind and compassionate polar bear, who taught her the life saving lessons of multidimensional deft ourskind.

One day while venturing forth they're accidentally separated however, and Sumi is captured by a group of plunderers who proceed to lock her in a cage.

Escape brings tribulation as she's tracked and targeted thereafter, a local fuel provider sympathetic (Muriel Dutil as Dee) but still unable to hold them off.

Could the individualistic warlike preponderance of bombastic sociocultural synchronicities, have transformed a once open-minded community into one prone to consistent bloodshed? 

Thus, even after the haunting end of multilaterally interconnected worldwide commerce, the unfortunate distrust still malignantly radiates where once warm and friendly community flourished.

Even in the isolated far north where food is more difficult to come by, and cohesive interactive communal initiatives seem more requisite to widespread health. 

Even with manifold orchards and farms is it not more prosperous to work in groups, to encourage nutrition and fight off hunger and generally work to holistically prosper?

Conflict does seem to abound as people seek to lead and emphatically pair bond, but do these conflicts need to be inherently destructive or could such impulses be proactively tamed?

You see it in Ghibli's Pompoko where the warlike raccoon attempts to take hold, or in ye olde Dances with Wolves where Wes Studi's brethren lament his aggression. 

Look to Germany in 1946 where I've heard people had to eat wallpaper to survive. That's the end game of fascism. That's where warlike tendencies lead.

I still don't think they could transform the North to such inhospitable despondent degrees, although Ofelas (Pathfinder) tells a much different story, and Russia is currently monstrously expressing itself.

Why not work together to secure food and shelter to mutually accommodate throughout the winter, rather than squandering precious resources on endless conflicts which produce nothing?

I'm not trying to jinx myself here but if you're active during the winter, it's a wonderfully productive time where you can get so much compelling work done.

If people are trying to trick you into embracing the belligerent lifestyle ask yourself what do they hope to gain?

And is your life worth lining their duplicitous pockets?

As they horde the profits for themselves?

Newsflash: it's not. It never will be. Read books. Be critical. 

Beware of the cult of Putin. 

And the North American obsession with Trump. 

*I rarring!

**The poster's awesome. 

Wednesday, December 27, 2023

The Croods

Ancient times, as one oft referenced environmental epoch matriculately metastasizes into another, a family left endeavouring to sensationally survive within, as massive earthquakes and catastrophic rock slides cataclysmically converge to destroy their oldest school cave dwelling, they flee together as one, always bearing in mind their familial solidarity.

Change is definitively critiqued and infuriatingly avoided by the Croods, who have bluntly outlasted their fellow citizens through courageous pluck and dynastic brawn.

But their eldest daughter (Emma Stone as Eep) seeks challenge and novelty and starts striking out from their cave on her own, accidentally meeting an inventive beau (Ryan Reynolds as Guy) who lives independently within the harsh lands.

They become further acquainted after her family departs for the unknown realm, where father Grug's (Nicolas Cage) dependable hunting skills have no time to adapt to the mysterious wonders.

Used to being the unparalleled patriarch he must suddenly intuit a secondary role, Borg implants still millions of years off, frustration and anger therefore materializing.

Yet landscape shifts and paradigmatic upheavals expediently necessitate hierarchical improvisation.

His family still relying on his strength.

As their world crashes in all around them.

I'm not sure how we evolved or multivariably mutated over the course of millions of years, even if sci-fi suggests we emerged from practical interactive interminglings. 

Thus, humanoids from another planet who had thoroughly destroyed their world, crash-landed on ours thinking survival would be simple considering their vast hospitable technologies.

But arriving somewhere lacking the infrastructure to even produce a nail or screw, they soon found themselves at the mercy of local populations who already knew how to formidably survive.

Some resisted the acculturation and sought to remain pure and independent (the Malfoys), while many others realized the benefits of interspecial co-habitation and set about cultivating their mutual prosperity (the Potters). 

Hence, to this postmodern day a mix of the caveperson and the alien still resides, within every culture across the land, producing a wide mix of compelling variety.

And the ancient puritan incestuous impulses still blindly guide at other times as well, even millions of restitutive years later the same fear of change and innovation flourishing.

Nevertheless, somewhere hidden upon the globe lies the ancient remains of those original spacecrafts!

Could they be the first cohesive multicultural evidence?

Still collaboratively resonating to this very day!

Tuesday, December 26, 2023

Peter Rabbit 2: The Runaway

While wildly profiting off the old Beatrix Potter tales, Peter Rabbit 2 takes shots at the publishing industry, as it innocently explores the urban/rural divide, and wholesomely promotes ye olde school traditional family. 

The dynamic book is selling and a large publishing firm takes note, and lays out the royal red with the hopes of expanding its global markets.

Bea's (Rose Byrne) impressed by the upscale adornments and quickly takes to the commercial schemes, even considering Peter Rabbit in Space along with many other atypical sequels.

Meanwhile, Peter and his bunny friends find themselves hip-hoppitting in the nearby village, Peter (James Corden) accidentally bumping into someone who claims to have known his dad (Lennie James as Barnabas).

They hit it off and scheme themselves soon intending to pull off a gigantic heist, of coveted sought after dry fruit at the chillin' freeform farmers' market.

Red flags inquisitively eschew but both Peter and Thomas McGregor (Domhnall Gleeson) ignore the danger.

Until the local pet shop captures their friends.

And the executive board attempts a hostile takeover.

Peter Rabbit 2 scores points for the countryside and the the humble laid-back agrarian life, as the sinister ways of the nearby town threaten to dilute its bucolic purity. 

The city's not technically like that although you have to be careful not to lose your head, country markets aren't really like that either, they can be pricey, but the artists sell cool things.

It would seem strange to see Petter Rabbit suddenly taking off into space, or surfing or browsing at the mall, but the same author could explore these locales with different characters.

There are always comedic applications which thrive through sheer incomparable inexhaustibility, the best ones leaving you evocatively abashed, the worst threatening the integrity or your immortal soul.

Ideas just come naturally to many after having spent so much time consuming media, it's a consistent mélange of mulltivariable impulses im/precisely interwoven with sub/conscious thread.

There are just so many of them they consistently bombard every constructive day while actively producing, I never really considered what it would be like to have just one and to spend the majority of your time focused upon it.

Sigh. It depends on how you view it but it can be argued that Peter Rabbit 2 is racist, like I said before, I don't think the anti-racism in film and television movements that hit the U.S ever influenced that many in England, but The Runaway lauds bucolic pastures and lambastes its only live-action black character (David Oyelowo as Nigel Basil-Jones) (Barnabas is also voiced by an African American and he's up to no good too).

As the patriarchs come to terms and settle down far away from the hustle and bustle.

Finding it in their hearts to disagree once more.

Peter Rabbit shouldn't be so political. 

Friday, December 22, 2023

The Secret Life of Pets

The Secret Life of Pets hypothetically explores the vast intricate networks forged by animate beasties while their owners labour.

Indubitably multivariable, they elaborately maintain reflexive codes of conduct, outsiders improvisationally electing initiation, as they travel throughout different domains.

Take the two principal characters, loyal pets getting used to living with one another, one once revelling in solitary freedom until the day his gigantic counterpart arrived.

Seeking to rid himself of the burden soon after at a local park, he attempts to play a trick on his compatriot, which leaves them both suddenly headed for the pound, pestiferous prominence meets drastic indelicacy.

But on their way the industrious underground audaciously emerges and sets them free, engaging no less in innovative expediences as they feverishly search and rescue.

Nevertheless, in order to acclimatize they must lie about why they were caught, so they don't seem green on their trip through the maze imaginatively constructed at length below ground.

Meanwhile, a devoted admirer notices that her beloved beau has disappeared. 

And trusted friends head out in search of their cherished fellows throughout the city.

Taking Oliver & Company to the next level The Secret Life of Pets tumultuously delivers, by providing a dynamic interactive cross-section of lively versatile multicultural life.

Not entirely unlike the heralded Rudolph who also travelled the world after encountering vitriol, finding his way to the island of misfit toys/the underground complex, while his friends desperately sought to find his location.

I was surprised to see the underground depicted so intricately in a family friendly animated film, I thought the subject matter would be too riské and that the master narrative would whitewash such things.

But without much whitewash realistic conflict intuitively emerges with unorthodox decorum, and respect is granted to novel ingenuity with emboldened invention and disparate ruse.

Perhaps the reasons explaining how the animals wound up there could have been explored with greater detail, and the heroes could have promised to proactively enable widespread adoptive change upon reemergence. 

I suppose it wasn't a Christmas film but is not viscerally paramount?

To freely share such a message throughout the year.

In praise of open-minded compassionate humanity! 

Just a thought. 😌

Hoping for peace in the Middle-East.

⛄🎄🎁🎅

Wednesday, December 20, 2023

The Nine Lives of Christmas

As Christmas rapidly approaches, a local firefighter festively complains, for having to take part in a photo shoot, he likes helping out, but it's not his thing (Brandon Routh). 

Across town, a caring lass laments that she has no time for the holidays, between work and studying to become a vet her schedule's full of pressing demands (Kimberley Sustad). 

But her friends think she should date or at least go out from time to time, and insist she agreeably join them for a low-key night out 'round town.

Meanwhile, a homeless cat finds his way over to Mr. Stone's house, and even though he dislikes responsibility, he still takes in the loving stray.

Seemingly unconnected events consistently ensure they bump into each other, and it soon becomes convivially evident that they were tarred with the same independent brush.

Hence since they're not really used to dating it's difficult to recognize the perfect match.

As they humbly mess things up while trying to not to appear genuinely interested.

The cat keeps wholeheartedly mewing and ensuring adorability's infused, the life and times of exasperated awestruck heartfelt exploration bewilderingly shewed.

Could it be that the animal kingdom subliminally facilitates human relationships?

Without the wayward kitty these two ideally matched impeccable soulmates, would have never engaged in the inquisitive parlay sincerely required to proactively pair bond. 

Perhaps through cosmic accident the natural world's inherent beauty, coincidentally helps the romantically inefficient to eventually sight discover one another.

But does the clever work of Mother Nature holistically emit its conjugal magic, throughout the entire year, while emphasizing Christmas?

Does she know precisely where and when the perfectly matched oddball couple will meet, and ensure a captivating critter will correspondingly instigate conversation?

This likely happened regularly long before the industrial age, for thousands of years while uncommitted bachelors and tribal women were torn asunder!

Perhaps even at a time when presents and trees weren't yet anticipated, a fledgling Santa even assisted in her collective amicable pursuits.

Until Satan introduced economic chaos and the destruction of the natural world began.

Global warming transforming worldwide l'amour.

With preposterous disproportionate impunity. 😜

Tuesday, December 19, 2023

Family Switch

The title's misleading. 

The rebellious self-obsessed years during which curiosity is severely criticized, and traditional wholesome old school activities condescendingly dismissed with haughty verisimilitude. 

The resultant antithetical shockwaves producing unsettling bland confusion, as festive recourse to playful jocosity sincerely struggles amidst the pretension. 

It's the Holiday Season in High School and the Walker Family is bitterly composed, having lost the communicative cohesion that once underscored their familial unity.

Mom's (Jennifer Garner) got a big presentation and daughter CC (Emma Myers) might make the national soccer team, Wyatt's (Brady Noon) hoping to get into Yale and his father's (Ed Helms) band has a unique opportunity.

Usually, the power of Christmas would unflinchingly aid their courageous misadventures, and by harnessing the spirit of the season they would proceed confident and emboldened. 

The unextinguished light fails to constructively guide them however.

Until they stop by a local observatory.

Where corporeal mischief interpersonally accrues.

Given the flamboyant opportunity to craft ebullient effervescent dreams, Family Switch's yuletide extravagance lucidly facilitates transmutation.

It's more like Die Hard nevertheless, more like a movie that takes place at Christmas, the Holiday Season popping up from time to time but by no means the predominant focus.

The otherworldly transformations seemed a bit too studio as well, as if an eccentric mystical expert wasn't consulted when shooting the scenes.

A missed opportunity: when the neighbourhood wives show up and start grilling CC and Wyatt, who are stuck in their mom and dad's bodies, individual criticisms are shared. But without accompanying close ups (think the end of Crocodile Dundee). The focus thus remains on CC and Wyatt. If each individual criticism had been announced with its own striking close up, the collegial balance between supporting and principal actors would have been more universally sustained. 

Part of the narrative directly celebrates teamwork so the point is eventually made. There's actually a lot of cool in this film. They put a lot of time and effort into it (try and find like 6 Christmas films or films that take place at Christmas to watch, some of them don't attempt to excel that much).  

I thought the acting improved a lot after the body switches and the actors starting pretending to play someone else 😜, I don't know if that was intentional, but the secondary characteristic investments paid imaginative dividends. 

I also thought it made a lot of clever points about family, and was thoughtfully designed to bring disgruntled folks back together during the holidays without being too preachy or overbearing.

Director McG should score points for ensuring the cast and crew took things really seriously.

The cast and crew should score multiplie points for creating a year round Christmas film. 

Even without the mind-blowing mysticism. 

Christmas in California.

Worth checkin' out. 

Friday, December 15, 2023

Sing

I always marvel at how tolerant my parents were regarding my singing when I was younger.

Before I learned to just take it easy and productively chill out when performing, I used to take on elevated subject matter, and my poor father had to listen as I bellowed Life on Mars? on the family piano, yet he still never let loose his irate criticisms, and let things take their natural course.

Sing gathers the harmonically gifted from a modest lively urban centre, and fortuitously unites them in passionate song, the reputed prize worth $100,000.

Unfortunately, the prize was a typo that greatly exaggerated the MC's income, but the lofty sum still motivated many, and a solid crew was melodiously assembled.

It must be the case the far reaching talent obliviously chillin' in so many towns, just waiting for similar opportunities to feverishly break out with elaborate invention.

Obsessions with being the best or not simply as good as a friend or relative, prevent so many from pragmatically proceeding as if there ever was an artistic superlative.

If you don't think you're the greatest singer or you needlessly worry how your words will sound, note that the most consistent songwriter in legendary memory won the Nobel Prize and he couldn't even sing.

American Idol is no doubt well-known for giving a shot to inspired local talent, and creating a vast incredible network of aspiring singers across the land.

But are local garage bands still seeking to frenetically emerge ultra summa cum laude, or just exist in the embryonic ether everlastingly invigorating rhythmic liaison?

Dylan, Bowie, The Beatles, and The Rolling Stones seemed to me like they worked like it was their job to write song after song, and didn't just lounge about on the old trust fund seeking performative disruptive accolades. 

You get that rush outside of your comfort zone that effortlessly produces irresistible novelty, and as you constructively/bitterly/imaginatively/proactively/distractedly/vituperatively react there's no all-encompassing parallel for what you come up with.

Liked Sing's city of animals and the collective beasties intuitively enthralling.

Dreams effervescently accruing. 

Multivariable shapeshifting cascades.