Alien: Romulus

Alone on a colonized world pestiferously ill-suited to humanoid habitation, boldly caring for a kindly android who tries his best to raise her spirits.

A miraculous day defiantly emerges when temporal quotas are efficiently attained, but the corporation cruelly refuses to honour its word and perniciously adds on 5 to 6 years.

Her friends have a radical plan to circumvent slavery with audacious cunning, take a ship and resourcefully hijack cryostasis equipment to reach a far away world.

The daring plan is put into action and the required tools industriously discovered, but a serious hiccup objectively impedes their smooth star sailing across the universe.

For they've accidentally landed upon a virulent space station isolated and hauntingly adrift, whereupon mad elaborate experiments were viciously conducted to catalyze evolution. 

Indeed Weyland Corporation after all of these sequels has finally obtained their sought after serum, which unnaturally transforms biological organisms unfit for space into model citizens.

The same android schematic from the original Alien even malevolently pursues the despotic objective. 

Scientifically mutate contemporary DNA.

To create invincible übermensch. 

Fortunately, the opportunistic marauders aren't so blind to the disastrous potential, and valiantly ignore the robot's plans to bring the formula back down to their planet.

Note that as the excessively rich attempt to make cyborgs hundreds of thousands may be permanently damaged, if you want to give your life for the experiment wisely make sure they're giving you at least $20 million (or try to outlaw that kind of thing). 

Alien: Romulus looks back to its roots and even reanimates the alien from Alien, while paying homage to Aliens and Alien: Resurrection in its bleak horrifying yet hands-on testament (Walter Hill also produces). 

I'm not saying they aren't really cool movies I even bought the Quadrilogy over 20 years ago, but the possibility of escape of the collective reimagining of the cultural codes responsible for Weyland remain unchallenged. 

I thought Alien, Aliens, and Alien: Resurrection made me care more about their characters, that those films gave them more room to develop, genre films that focus on developing minor characters are so much cooler (and rewatchable).

Alien: Romulus spends a lot of its time developing the android Andy and the lead hero.

While indirectly commenting on education and cyborgs. 

There's a lot more to the movie than that. 

*If you're hoping that doesn't happen with the baby, it does.

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.

Space Truckers

And through the passage of time, space is slowly colonized, commerce encouraged to flourish within, old school grievances inevitably emerging.

And as politics galactically expand, Earth's government loses control, one man attempting to exploit its weaknesses (Shane Rimmer as E. J. Saggs), with an army of invincible robots.

But his plans remain a secret and he has yet to transport them to Earth, stealth required clandestine collusion, patiently awakening, a trusty space trucker.

John Canyon (Dennis Hopper) arrives at a spaceport two days late with his sought after load, and payment is refused, confrontation bellicosely ensuing, but not before he's proposed once more to the diner's stunning waitress (Debi Mazar as Cindy). 

The confrontation proves irreconcilable and the corrupt boss is sucked into space (George Wendt as Keller), the independent contractor worried about his next move, he enlists the aid of an underground contact.

Who hooks him up unbeknownst with the robots and an even more demanding schedule, which he thinks he can steadily keep, if he transports the goods off-road.

After a collision with a camouflaged meteor he's left adrift in space.

Soon bombarded by covetous pirates. 

And their mad genius cyborg captain (Charles Dance as Nabel/Macanudo). 

Improvised tactics and frowned upon methods reflexively manoeuvre and bargain within, as Space Truckers celebrates old school individuals making a living through extant daring.

Equitable workplace regulations have yet to settle space so everything's controlled by executive caprice, and since there isn't much work to go around, obsequious dispositions flex and flounder.

Youth even confronts age old feisty Canyon and boldly recommends he play by the rules (Stephen Dorff as Mike Pucci), Cindy taking an amorous shine to him, the less stressful modus operandi. 

The company attempts to rip off Mr. Canyon so he responds with contentious cataclysm, just as Macanudo defies the government in order to pursue grand insurrection.

But Pucci doesn't betray his teammates or seek power or corporate control, differentiating himself thereby, in the chaotic mayhem.

The pirates take things a step further loosely organized and swashbucklingly conceived. 

As the formidable robots escape.

Still a future preferable to Covid. 

Justice League

Superman's (Henry Cavill) death having exposed Earth to intergalactic invasion, Batman (Ben Affleck), riddled with guilt, must find a way to heroically compensate.

Assembling a team of gifted phenoms seems like the best course of action, and the globe is traversed to collectively materialize both ancient and contemporary myth and legend.

Wonder Woman (Gal Gadot) quickly joins up shortly after Aquaman (Jason Momoa) initially refuses to participate, the Flash (Ezra Miller) and Cyborg (Ray Fisher) eventually accommodating Mr. Wayne's self-sacrificing request, the resultant union improvising in battle with hopes of defeating the tyrannical Steppenwolf (Ciarán Hinds), whose monstrous heart terrifyingly seeks the destruction of passionate worlds, the annihilation of free peoples, the nourishment of death and decay.

They come together with much less ego than their avenging competitors, reluctance and leadership issues more of an itch than an implosive characteristic, historical reverence subduing aged contemporary Gods, youthful postmodern members discursively ready to mystify.

Perhaps suggesting that DC is distinguishing itself from Marvel by focusing more on collective unity than individualistic personality?

Even if interstellar awakenings make some of these reflections mute.

Batman is ridiculed for having no superpower.

David Bowie and Prince are awesomely compared to Superman.

Sea shepherding of the rustic conveys bucolic mythological fortune.

Love vanquishes the unleashed chaos of blitzkrieg.

Computational prowess is as highly regarded as environmental stewardship, global interconnectivity physically synthesized ad infinitum.

Whales.

I rather liked how Justice League holds it together.

Not as verbose as The Avengers nor as intricate, but its laid-back approach is still rich in metaphor which indirectly stylizes an imaginary vortex, wherein which interpretive discourses manifest interdisciplinary comment, the intellectualization of the straightforward, the love for all things plaid.

Does the Flash become jealous of Batman in subsequent films as Wonder Woman appears to prefer him?

Will Aquaman and Cyborg's habitual independence destabilize their cherished unity?

As much of a catalyst as it is a fulcrum, Zack Snyder's Justice League gives DC even more eclectic momentum, some versatile room to manoeuvre, the depth of its successors hopefully reaching way down to Atlantis, while diversifying cyberspatial manors, with Amazonian lightning speed.

Burgeoning.

Hardcore Henry

Apocalyptic awakening, immediately thrust into omnipresent annihilation, or birth in a fascist realm, unable to speak, cyborg awareness, the necessity of inductively coming to terms with what that means as a legion of minions attempts to obliterate you, escape from the blimp, follow the bread crumbs, instinctively strategize each and every incendiary reaction, awestruck athleticism, magnanimous masquerade, keep bursting with blunt obstinacy, survive to Frankenstein your creator, smash crunch dash ditch, pernicious reflexivity, maniacally coming into being.

Too insane.

Too psycho.

The opening credits suggest Hardcore Henry's parodying James Bond and is therefore supposed to be comedic, but if that's the case, it's a sick sense of humour that doesn't particularly impress.

The film's like a video game, like Henry's your character and you're trying to frenetically fight your way to the end, the unnerving celebration of violence perhaps meant to critique blitzkrieg obsessions, found in many a video game, less pronounced in Bond, still there, James Bond.

I don't think that's the case though, the opening credits also festively revelling in graphic death, Hardcore Henry consequently seeming like an elevation of violence for violence's sake rather than a reticent vituperative censor.

The audience is Henry as he fights his way to the top, always following his point of view.

Compliments for trying something different, but whereas this technique worked in Son of Saul, perhaps here suggesting that focusing too strongly on individuality leaves you suffering under constant threat, it's disorienting in Hardcore Henry.

The quasi-novelty wore off after 5 minutes and I quickly grew tired of the obscured frenzied panic.

Jimmy (Sharlto Copley) and his avatars provide comic relief but they also die brutally every time they provide information, as James Bond's contacts often do.

Way too much violence without much of a point.

I like raw bohemian unconcerned films, when they're done well, but Hardcore Henry just seems to be exploiting subconscious malevolence, like cockfighting or racism.

It's too easy.

Rash thoughtless elevations.

Scripted chaos.