Cane Toads: The Conquest

The old invasive species tale creatively told once and again, this time a' flourishin' down under, with a fresh democratic imaginative take.

Know then that grubs were destroying Australia's versatile sugar cane crops, so they sought an efficient way to stop them, and subsequently introduced a non-native toad to their robust environment, with the unabashed dogged hopes that it would bravely devour them.

Unfortunately it didn't, and they reproduced abundantly in incredible numbers, and soon starting spreading across the continent as their natural instinct accelerated forward.

If considering whether or not they became a tasty treat for endemic wildlife, believe that their natural fluidic poisons were a problem for local beasties and pets alike.

Many communities were rather annoyed by the massive unrelenting expansion, and inaugurated ways to curtail their progress across the massive fecund land.

Others industriously capitalized on public fascination with the phenomenon, and created products and fertilizer and roadside attractions flouting the new lifeform's integrity. 

I know I would have a good time just sitting back and watching them hop by.

Australia sounds so amazing for wildlife.

The Crocodile Hunter was such a cool show.

As is Cane Toads: The Conquest, it's unlike any nature documentary I've seen, a unique twist on a fascinating genre inherently abounding with camp and craft.

It's a truly democratic account that interviews peeps from multivariable walks, without judgment or pervasive hierarchies pretentiously upsetting the creative balance.

The variety is impressive as he zigzags his way through his inclusive exploration.

If no video footage exists of the cane toad related story, director Mark Lewis engages in dramatic recreations in order to reanimate the yarn.

Perhaps not serious enough for some sterile objective puritans, or people who really don't like the toad, it's difficult to say. 

But I imagine kids and families and audiences around the world would love Cane Toads: The Conquest!

The multiple close-ups and inspired invention.

Producing bona fide unfiltered wherewithal. 

Multiplicity

Work at times prone all-encompassing as pressures and demands exponentially multiply, an occupation blended with leisure and family ubiquitous responsibility pending.

As long as expectations are reasonable and goals practically parlayed, it's manageable long-term through hands-on seasoned sympathetic accords.

But what if you could clone yourself and then send that very same clone to work, thereby allowing yourself more time to spend with family or perhaps relaxing?

And consider a second clone to then take care of your parental duties, leaving you with nothing but free time to galavant and jaunt and sojourn?

Multiplicity explores this possibility with comic slipshod rank effect, one risk-taker finagling flip facsimiles to free-up time in his busy schedule.

Fortunately, the clones don't mind and respond amenably to their roles, and don't question his cherished authority as he creates rules and regulations.

I would imagine a perfect clone would be more independent, and less willing to immediately respond to demanding occupational infrastructure.

The original is rewarded with cloned pertinent traits befitting related corresponding objectives, foreman model rather assertive while stay-at-home-dad flexibly accommodates. 

It's oddly a family film shot in the cuddly mass market style, wherein which endearing conglomerates generally avoid awkward confrontation.

The experiment has consequences but his wife and family persevere none-the-wiser, unaware that good-old-dad effectively abandoned them through surrogate censure.

Could a film this overtly insensitive be made in the 2020s, taking alternative multiplicities into consideration, from a less patriarchal point of view?

It seems that if one were to embrace equality while still endeavouring to cultivate shenanigans, both parties to the conjugal union should have duplicated themselves in secret.

Then perhaps 6-8 echoes would have to furtively avoid one another, while mayhem habitually metastasizes through the art of embellished absurdity.

They could perhaps all wind up living together with a massive feisty family.

That script may be overly complicated.

But still less of an abomination.