Battle Beyond the Stars

A peaceful world universally renowned for its lighthearted communal levity, is suddenly threatened with total destruction, by a lethal tyrant and his mutant army, who possesses a formidable weapon. 

The planet lacks technological distinction but at one time created a ship, to explore the surrounding stars with inquisitive pluck and attuned recognition. 

In their darkest hour of woe of young adventurer commands this vessel (Richard Thomas as Shad), and sets out in search of mercenaries to defend them from the ruthless Sador (John Saxon). 

His courageous exploration is soon audaciously rewarded, as he's able to find able bodied romantics eager to fight a hopeless battle.

Even though scant retribution can be fortuitously paid, they fight resolutely with stalwart will for resounding intergalactic accolades. 

A curious cast of alien life is correspondingly assembled, from diverse realms with eclectic creeds vigorously applied to the newfound mission.

Not to mention inchoate love hectically maturing in the heat of battle.

For two brave modest souls.

Attuned to devout strife.

Playful sci-fi often flops but you could do worse than Battle Beyond the Stars, whose mischievous investigative libido strives in bold rambunctious posture.

Heavily influenced by Star Wars not to mention Star Trek and Seven Samurai, it still brazenly crafts a randy wide-eyed contumacious original vortex.

It plays clever tricks with expectations at times, notably the potential Cantina-like homage, which turns out to be a generally deserted planet, Jimmy T. Murakami 1, J.J.Abrams, 0.

From ceremonious synthetics to vehement Valkyries, Murakami reconstructs the imagination in space, I applaud his bold respect for Seven Samurai, not easy to pull off forlorn amongst the stars.

I searched to find an article claiming that most of the actors from Battle Beyond had had guest Star Trek appearances. I didn't find one (boring!). Levels of postmodern nerd-dom still haven't reached ecstatic heights! 

Sometimes, every scene within a film takes on a lifeforce of its own, the accumulated resonance of the trails and errors constituently reverberating notwithstanding.

For fans of alternative sci-fi I'd say Battle Beyond the Stars can't be missed.

Awkward. Innocent. Daring. Uncanny.

Why not throw in some mutants?

Can't speak to its lasting influence. 

*Here's a cool list of celebrity guest star appearances on Star Trek.

Primal

Unable to abide by the rules and structures of traditional zookeeping, an independent spirit strikes out on his own, in the ironic pursuit of free ranging wildlife, whom he captures to earn his living.

Meanwhile a resourceful assassin has been caught by the American government, which plans to transport him back to the States, for having committed brutal crimes.

Frustratingly, he can't travel by plane, due to a physiological peculiarity, and must therefore be securely shipped, on the very same boat upon which Frank Walsh (Nicolas Cage) is voyaging, to facilitate the sale of his animals.

Elite military personnel vigilantly guard their prisoner, expecting everything to go as planned, but a not-so-subtle animate seizure brings about harrowing unforeseen circumstances.

Soon they're back on the hunt in an enclosed cryptic junk yard jungle, Frank's animals having been set free, to add wild beastly fierce complication, to a rather sensational schematic.

Venomous snakes, birds, tapirs, monkeys, and a ghost-jaguar enjoy unexpected freedom, locked down encaged no longer, curious to learn more about their new environment.

Will they accidentally assist in the improvised plans to recapture a crazed escape artist, or further annoy the troops as they search, while sincerity tracks them down?

Primal proceeds with raw carnal instinct intending to generally avoid incarceration, those who persist intuitively enacting intense entrepreneurial codes.

Its narrative logistics aren't far off course considering its limited budget, although I can't help but wonder how shocking it may have been had it possessed more bountiful resources.

It steers clear of Snakes on a Plane which I initially thought may have provided inspiration, preferring to stick to infused human conflict instead of concentrating on the ghost-cat.

Actors are given the chance to emit passionate refinements of character, and with less material to go on than enigmatic drama they still establish volatile identities.

Can't say I'm the biggest fan of capturing animals to sell them to the highest bidder. Especially the rarest inhabitants of the jungle. It's much more fun to think they roam free.

Life of Pi does make a strong argument in favour of zoos, but I think the larger animals still definitively abhor them (unless they're lazy).

I was mistaken in my initial hypothesis regarding Primal's concluding moments, but I can't say much more than that without giving too much away.

It's a cool film if you like this kind of story.

Would have been cooler with African American survivors.

And reforms leading to the release of the animals in the end. 

Has Nicolas Cage ever been in a film with Gary Oldman?

They're both best actor winners who never lost their cool.

As far as I know.  

Directed by Robert Rodriguez? 

. . . 

Blood on the Moon

Spoiler Alert.

Alone in the burgeoning West riding cautious 'cross rugged terrain, a new position lucratively awaiting within lands hitherto unknown.

The services required necessitate fearsome low combative life-threatening confrontation, and have never been offered by the unlucky rider, who thought he may as well help an old friend.

$10,000's available should he choose to abide by the deal's unsettling corrupt regulations, the work at hand just simple enough should he avoid the volatile conflict.

A large herd of cattle once earnestly thrived to provide beef to a local First Nation, but the contract's been lost through duplicitous means and they now must vacate the calm reservation.

A deadline's been set for their thorough removal and remains stern and non-negotiable; if John Lufton (Tom Tully) can't cross the river he'll be forced to sell to the highest bidder.

Local homesteaders don't want him to cross for they fear his herd will take up the best land, and the rider's (Robert Mitchum as Jim Garry) employer (Robert Preston as Tate Riling) has actively led them to make a formidable stand.

But Riling has no interest in farming, he hopes to buy Lufton's cows cheap if he has nowhere to go.

He'll then sell them back to the government at a significantly increased price.

Like a film noir hero, Garry possesses conscience and won't take things too far, he's forced to decide which side's more honourable to appease his critical will.

Not an easy decision to make.

Drifting alone along the ageless frontier.

The law's entirely absent apart from one character in charge of Indigenous affairs (Frank Faylen as Jake Pindalest) (there's no First Nation voice in this film), and the haunting prospect of the army, their dispute relies on strict honour and loyalty.

The outlaws are rather unorthodox for traditional western fare, inasmuch as they aren't robbing a bank or holding up lonesome forlorn stagecoaches.

They uphold ideals to clandestinely gain financial and territorial advantage, the appeal of which would have generated romance with less conniving illicit compunction.

No femme fatales in the mix so seductively contriving intrigue, in fact Amy (Barbara Bel Geddes) and Carol Lufton (Phyllis Thaxter) seek nothing more than just investigation.

A choice must be made but who's to make it beyond material considerations, when the stakes are tantalizingly high and the right thing bears no startling cash settlement?

If Blood on the Moon's a crafty noir it proceeds without poignant despondency.

Garry may struggle with gripping free choice.

But he's by no means utterly alone.