*batteries not included

An agéd neighbourhood awkwardly scheduled for demolition posthaste, refuses to abandon one old school apartment and its rambunctious first floor diner.

The tenants see the surrounding wastes yet are unaffected by the deluge, continuing to live as they always have as if nothing has morphed, mutated.

The construction crew has to wait for the go ahead to destructively proceed, so they enjoy tasty heartfelt meals while negotiations wholeheartedly stall.

Unimaginative no-good-nics have been rashly trusted to encourage vacancies, but some people have lived there most of their lives and simply will not swiftly leave.

The rapscallions make things difficult and ruffle riled feathers with ill-gotten-ambition, while an elderly couple cooks crabs and captivates, and a nimble lass befriends an artist.

And just as the pressure seems too much and that their way of life may soon rapidly fade, mechanistic visitors from far off in space suddenly appear to set about fixing things.

Somewhat like Transformers inasmuch as they represent metallic life, they're also somewhat more adorable, and capable of reproducing.

I'm still not sure if enough research has been done to validate the benefits of artificial intelligence, if automatons are built by humans to act like humans is there not the potential for holistic disaster?

Data is generally calm and ubiquitously useful on STNG, but there are episodes when he malfunctions and almost kills the entire crew.

The reasons for his malfunctions are justified, it's like he was suddenly programmed to megalomaniac, but when he's sick the results are horrendous as opposed to the adorable cough of a feverish puppy.

If only I could trust humanoid leadership which seemed much more reliable from 1980 to 2015, but with the rise of Putin it irrefutably seems like imperialistic despots cannot be eradicated. 

The majority of the world may seek the safe integration of benevolent artificial life, but all it takes is one crazy person to hire someone with the knowhow to create fierce warlike robots.

Will the first person to possess the knowledge turn down trillions and keep it to him or herself?

I suppose there are many countries without nuclear weapons.

But forever is a very long time.

The Hummingbird Project

Cantankerous competition, bitterly motivating high-stakes vitriol, necessitating vast fluid resources whose liquidity lubricates mass, encouraging dynamic cerebral calculations the practicalities of which harness synergy, theoretical computations duelling in concrete enterprise, boldly navigating luscious landscapes in hard-driven entrepreneurial schism, ingenious thought desperately relied upon as if novelty could be canonically conjured, and instantaneously set in motion, to quickly generate multi-millions.

The improbabilities surrounding Vincent (Jesse Eisenberg) and Anton's (Alexander Skarsgård) attempts to drill a thousand-mile tunnel between the New York Stock Exchange and Kansas, within which they plan to lay fibre-optic cable that will outperform their former employer's minions, are astounding and truly incredible, especially considering Anton has yet to figure out how to save the plutocratic millisecond, and mountains, malcontents, miscues, and maladies lie mischievously waiting, before they ecstatically break ground.

The confidence required to move forward with such a plan is mind-boggling to say the least, yet Vincent's undaunted and inspiring enthusiasm still persuades financial managers to invest.

Mark Vega (Michael Mando) and many others sign on to build the tunnel, their subterranean expertise as lively as their adventurous spirits.

But Eva Torres (Salma Hayek) unleashes pure fury after Anton quits, and boldly sets about to ignominiously destroy him.

With vast resources at her enraged disposal, and an alternative theory which Anton disputed, she sets out with devoted crews, to disenchant his blind flexible resolution.

It's as if Kim Nguyen's Hummingbird Project takes ludicrous Marvel heroics, rationally exclaimed in their own fantastic realm, and practically applies them to the world at large, a more fragile world wherein which failure is a possibility, superpowers are strictly relative, you do have to consult people, and the opposition isn't quite so evil.

Most of the time.

In fact, Anton and Vincent were doing rather well when they worked for Torres, not millionaire well, but well enough, regardless.

Nevertheless, Vincent emphatically believes in his enviable idea as if he possesses bold superpowers, and willfully embraces godlike responsibility with the daring conceit of courageous miracle.

It's a solid film, complete with the coolest chase scene I've seen in a while, and it wouldn't have been nearly as chill if Vincent had been questioned more critically in the beginning, if doubts had disabled his radical undertaking.

Legalistic and tunnelling superheroics combatively abound within, with no sincere guarantees, no legends, no magic, no assurance.

Cultivating the great beyond.

Great cast.

Realistic enough.