Spaceballs

A villainous planet wickedly inhabited seeks to plunder a liberated land, using technology intricate and cruel to stubbornly cheat and lie and obfuscate.

Meanwhile that realm's awkward ruler attempts to marry his daughter to a prince, but she responds with vehement criticism before escaping with her droid.

A swashbuckling duo is swiftly contacted to quickly find and bring her home, the treacherous Spaceballs also hearing of her rebellion and soon ludicrously chasing her throughout the galaxy.

They hope they can convince the father to release the code to his planet's airshield, by locating and grimly capturing and then threatening to surgically remodel her nose.

Their planet is out of fresh air and requires newfound untainted oxygen, mad expansive unchecked commercialism having destroyed their once verdant environment.

Bold Lone Star and his companion Barf hope to heroically quash their sick endeavours.

While learning about the mythical Schwartz.

Expediently focused.

Itinerant eternities.

A cut above the old school spoof films once highly regarded amongst discerning youth, Spaceballs welds its exclamatory rhythms one step closer to ribald euphoria. 

With a fast hectic crazed chaotic path it ridiculously orchestrates spastic trailblazing, focused on Star Wars while looking beyond to delicately lampoon old school science-fiction.

Did I love it so much in my youth because I was young and impressionable and didn't know better, or was it indeed genuinely funny and smoothly suited to burgeoning wit?

There are films that I loved way back when that I've watched recently with tired resignation, but Spaceballs still generates laughs and fluidly echoes the temporal spirit.

The creative script and consistent mayhem wildly facilitate playful otherworldliness, brought to life by a strong cast of favourites recklessly emboldened in the bamboozling forefront (John Candy, Bill Pullman, Rick Moranis, Daphne Zuniga, Joan Rivers, Mel Brooks . . .).

I wonder what George Lucas thought of this film there was more of an understanding between comedic and serious works back then.

Comedy was of course never supposed to take over.

And limitlessly expand with destructive absolutism.