Godzilla vs. Hedorah

Embryonic entity necrobotically nurtured infrequently on toxic sludge, post-war excesses woebegone waste detrimentally devastating fertile environments.

Non-existent strategic sustenance absent agendas a lack of will, built-up battlements pestiferous platforms swathed in sewage pernicious poison. 

Centripetal citizenship delicate direction scientific treatises elastic experiments, improvised research piecemeal prognoses acrimonious accidents exacting detail.

Innocent emphatic hopeful reveries freeform playtime spirited dreams, once widely feared and collectively criticized the colossal Godzilla resolutely revered. 

Alien life awkward extraterrestrials fumigaseously feasting on industrial run-off, handlebar hostilities universal clash intergalactic gauze interstellar antipathies. 

Rhythmic reverberations mythical music mirthful melodic hucklebear harmonies, serendipitous scales chromatic metre choral choir clef aerodynamic accolades. 

Worrisome windswept whac-a-mole waffling gargoyle gargantuan maladroit membrane, corporeal carnage objective lesion autocratic cauldron despotic debacle.

Thunderous thermal radioactivity electronic seven-eleven endocrine, scuba-divining oracular auspices clairvoyant cavalcade omniscientific. 

Bellicose brawndywine consistent contagion cumulous cudgel Florentine femurmur, nebulous 'nagerie opaque quibulletin austere obscurity pestilent penchant.

Sustainable mercantile healthy matriculation robust reclamation febrile reforestation, salubrious soil unembellished breath ameli'ore aquifer nutrient Nanabush. 

Refined respiration jungle gymnastics débutante desert mountainous malternate, undersea sequential subsumed serenity verdant conglomerate camplified glade. 

Cool to see the Godzilla movies sticking up for healthy environments.

Science constructively woven in as usual.

With the traditional focus on artistic expression.

Embowering conscience.

Cerebral simplicity. 

Grace of My Heart

After winning a local singing competition, a young woman heads to New York, running into paradigmatic dilemmas afterwards, since at that specific time female vocalists weren't selling.

Distraught and frustrated she still soldiers on until one day a producer takes note, he doesn't ask her to sing her own songs however, but rather hopes that she'll write them for other people.

She's initially dismissive and critical but eventually sees that it's a great opportunity, and even though singing her own songs was no doubt preferable, writing them for other people still equals = career. 

She's quite talented too she comes up with several catchy wide-reaching hit singles, others noting her compositional brilliance as she boldly fights to freely express herself.

Marriage and family don't wholesomely spoil things she keeps writing songs in the conjugal aftermath, although the strain on her time is rather cumbersome she's a total gamer and goes with the flow.

Not that she doesn't have limits she won't put up with the brazen uninspiring cheating.

Falling for quite the eclective of men.

Never losing sight of her talent.

That was what really struck me about the film, Edna/Denise keeps creating no matter what, even when her less talented husband is bringing her down, even after she has to bring her baby to work.

She has an understanding producer who cares and looks out for her like an adoring sibling, and he usually has compelling advice professionally attuned to advancement and progress.

She uses her life's controversies to continuously write new appealing songs, otherwise I would have recommended avoiding relationships altogether and ubiquitously focusing on nothing but music.

That would be an interesting study: do artists who co-habitate with others and have families produce more consistent results than those who go it alone, does the constant emergence of unexpected relational events outweigh the creative freedom of idyllic independence?

Always seemed like experimenting forever and ever with meaning and relevance and sport and nonsense, would perhaps one day lead to Borg perfection, and devise sustainable omega molecules. 

But if you want to write irresistible pop songs constant experiment may lead to issues.

It certainly doesn't for Edna/Denise however.

She never stops givin' 'er.

Keeps writing hit songs.

*Based on Carole King so the online sources say.

Vox Lux

Brady Corbet's Vox Lux wildly envisions tumultuous reasonability clad in disputatious aggrieved apotheosis facilitating chaotic calm.

Beware what transpires within, for it's a most uninhibited tale, executively brandishing dysfunction, perilously prophesizing unimpaired.

Like all stories, it begins, a school in a small town no less, where a distraught child assaults his classmates and takes many innocent lives.

It's appalling that lawmakers aren't taking measures to prevent such atrocities, especially after so many brave American young adults have appealed for political conviction.

So many years after Bowling for Columbine, these shootings still take place with horrifying regularity.

Mass school shootings or mass shootings of any kind are so obviously not acceptable and arming teachers to stop them is sheer utter madness, total insanity, extreme irresponsibility, just nuts, such events don't simply happen, they're the product of blind mismanagement, and legal steps should have been taken to prevent them many many many years ago.

Celeste (Natalie Portman/Raffey Cassidy) survives the shooting at her school and writes a song to express her grief, a song which capture's a grieving nation's attention, superstardom awaiting thereafter.

But with superstardom comes unexpected pressure, Vox Lux necessitating improvisation as the unanticipated interrogatively fluxes.

How to diplomatically respond?

When even her most humble words provoke sensation?

It's unhinged and perplexing and preposterous and disorienting when you think about it afterwards, Vox Lux's argumentative acrobatics and substance abuse fuelled rhetoric leaving a byzantine trail of grandiose unorthodoxy in their wake, realities so disconnected and otherworldly it's like they orbit the heart of an imperial pulsar, which radiates untethered brilliance partout, and neglects consequence with refrained spry spectacle.

Yet it's so real, the film seems so plausible, so concrete, so distinct, passionately yet prohibitively brought to life by Natalie Portman and Jude Law (The Manager), like a down to earth fairy tale that's as ludicrous as it is homemade, like a supernatural cookie cutter incarnated in mortal shade.

Bafflingly improbable yet so irrefutably sincere, Vox Lux resonates with raw animation as if a misfit god has awoken from eternal slumber, and what a performance she gives in the end, this former child star who's been nurtured by shock and scandal.

Exhilaratingly conjuring.

In visceral artistic balm.

Approach Vox Lux with caution.

Outstanding alternative mind*&%^ cinema.

Bohemian Rhapsody

Struggling with upheld established traditions, a creative singer songwriter enchants serendipity.

It's not that their guidelines are obtuse or ill-defined, their associated codes and mannerisms just stress him the *&%$ out.

Even if he doesn't respond delinquently.

Not at a loss for words, he soon finds himself loquaciously disposed, and boldly makes known his desire to join a band.

They hit it off, hit the ground running, shake things up, let it all hang loose, every member contributing to their success, critical inquiries fuelling their momentum.

Cohesively.

Indeed, Bohemian Rhapsody excels at presenting Queen the band as they sternly work to synchronously perform and compose.

Focusing heavily on Freddie Mercury's (Rami Malek) life, he still isn't depicted as the band's sole driving force.

They wrote so many unique songs, songs that don't even come close to sounding like anything else, not even Bowie, some experimental bands forgetting that music needs to be appealing in some way (Bowie was very appealing), not Queen, who had a rare gift for balancing the experimental and the commercial which still influences today, let's throw in an operatic section, and later write two of the most stunning jock anthems of all time, undeniable diversity exuberantly exemplifying innovative resolve, the film suggesting it's the product of their union, and that no one ever unilaterally took control.

Mercury even critiques his solo career precisely because the studio musicians he worked with never challenged him with the same bravado he'd taken for granted in Queen (I imagine many studio musicians do challenge the artists they work with, but within the film that point helps cultivate its emphasis on unity).

While the film celebrates Mercury's strong character, the ways in which he enriched peoples lives in alternative ways to those promoted by his upbringing, which he still respected, things become very dark when he embraces his difference, as if the film is indirectly critiquing it.

Queen and his family and his eventual life partner (Aaron McCusker) and his first wife (Lucy Boynton) were no doubt essential features of his life, but I wonder if he was as lost as they grew apart as Bohemian Rhapsody suggests?

I'm not trying to say he should have partied as hard as he did, I'm not promoting wild lifelong partying, I'm just pointing out that the film becomes very dark as Mercury's alternative lifestyle becomes the focus, and I imagine he likely made many supportive friends when he came out, many of whom were likely also there to support him.

And were his bandmates as angelic as depicted within?

Outstanding musicians who redefined pop music and understood that music was their career nevertheless, Bohemian Rhapsody pays tribute to their indelible impact while celebrating loyalty and composition.

Many cool cat shots too.

Hardly anyone seems to age in the film, like pop music is a fountain of youth.

Although hairstyles and outfits do change.