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.  

Tango & Cash

Two exceptional cops pursuing justice in L.A, the press following their daring exploits, local ne'er do wells unimpressed.

They usually get-'er-done without relying on standard procedure, their results curtailing grand transgressions, their methods critiqued with aggrieved resolve.

They wind up causing so much commotion that they're targeted with cunning foresight, a crime boss thinking it foolish to murder them, preferring to see them locked up instead.

Tango (Sylvester Stallone) is prim and polished if not somewhat bold and reckless, employing formal codes of conduct in both random discussions and choice of attire.

Cash (Kurt Russell) pursues law and order with more passionate critical zeal, unconcerned with upper crust etiquette while expressing himself with enthused vitriol.

A disputatious team polemically and audaciously emerges, as they're both sent to a rowdy prison where they've crossed paths with many an inmate.

Unfortunately for them, the prison guards and much of the administration have been bought by the very same adversary, who was responsible for framing them beforehand, and even stops by to see them electrocuted (Jack Palance as Yves Perret).

Their only chance is escape back at it within the world at large. 

The force reluctant to rearrest them.

At least for 48 hours.

Stallone and Russell actively deliver a fast paced energetic vortex, like a hyperreactive embargo fluidly reverberating high stakes stasis.

From the way it's presented you'd think it's as lucid as hands-on practical exoteric reckoning, if something crazy didn't happen every five minutes to keep the wild plot counterpoising on.

Indeed I wondered if they were characters from a comic book I'd never heard of at times, the entertaining over-the-top scenarios innately fantastic phenomenonally spawned.

If it had been made in the 21st century it likely would have had multiple sequels, it's hard to imagine they didn't make another one, but it was released before the internet and Netflix.

Perhaps that's for the best since it does go way too far, in terms of cowboy cops using brazen violence to achieve jurisprudent ends.

At times anti-immigrant sentiment also bursts forth, and rehabilitative prison goals are directly scrutinized.

I'm afraid I'll have to argue that this one's too prone to discipline and punishment, take a couple of lines out and it's much improved, too sensational for its feigned reasonability.

Daring cop drama tainted by excessive force, lockdowns, and xenophobia, still cool to see Russell and Stallone at odds, they've made many chill films, this one's just too outrageous.