Spaceballs

A villainous planet wickedly inhabited seeks to plunder a liberated land, using technology intricate and cruel to stubbornly cheat and lie and obfuscate.

Meanwhile that realm's awkward ruler attempts to marry his daughter to a prince, but she responds with vehement criticism before escaping with her droid.

A swashbuckling duo is swiftly contacted to quickly find and bring her home, the treacherous Spaceballs also hearing of her rebellion and soon ludicrously chasing her throughout the galaxy.

They hope they can convince the father to release the code to his planet's airshield, by locating and grimly capturing and then threatening to surgically remodel her nose.

Their planet is out of fresh air and requires newfound untainted oxygen, mad expansive unchecked commercialism having destroyed their once verdant environment.

Bold Lone Star and his companion Barf hope to heroically quash their sick endeavours.

While learning about the mythical Schwartz.

Expediently focused.

Itinerant eternities.

A cut above the old school spoof films once highly regarded amongst discerning youth, Spaceballs welds its exclamatory rhythms one step closer to ribald euphoria. 

With a fast hectic crazed chaotic path it ridiculously orchestrates spastic trailblazing, focused on Star Wars while looking beyond to delicately lampoon old school science-fiction.

Did I love it so much in my youth because I was young and impressionable and didn't know better, or was it indeed genuinely funny and smoothly suited to burgeoning wit?

There are films that I loved way back when that I've watched recently with tired resignation, but Spaceballs still generates laughs and fluidly echoes the temporal spirit.

The creative script and consistent mayhem wildly facilitate playful otherworldliness, brought to life by a strong cast of favourites recklessly emboldened in the bamboozling forefront (John Candy, Bill Pullman, Rick Moranis, Daphne Zuniga, Joan Rivers, Mel Brooks . . .).

I wonder what George Lucas thought of this film there was more of an understanding between comedic and serious works back then.

Comedy was of course never supposed to take over.

And limitlessly expand with destructive absolutism.  

The Fabulous Baron Munchausen

A fantastic fanciful tale eloquently embroidered with enigmatic elasticity, effervescently afloat in ethereal sentiments neigh nautically nebulous efficacious shrugs. 

The dawn of reason of scientific experiment was not without its spirited disclaimers, or at least those who still held fast to incorporeal invention lackadaisically improvised through rhythmic song.

No doubt fearful of lavish reliable widespread streams of revenue drying up, old school traditions wistfully wielded newfound technologies with regal candour.

The new realistic phenomenon most likely responded with fashionable devices (freezers, fridges), which in turn functioned like objective magic and called into question immaterial states.

The ingratiating practical convenience likely won over many orthodox critics, once wholesomely familiar with domestic trends so ubiquitously enveloping they seemed naturalistic.

But the innovative technologies hadn't innocently counted on devastating spiritual longing, or the intense desire to awkwardly believe in ornate grandiose fluid impossibility. 

Thus, wild literary tales continued to advance intangible tractability, for the recreational chez sensational cultivation of ludic flight.

Unfortunately, the collective will to absolutely choose one or the other, led to palpable global distress for many an onerous discordant decade.

Although one option did seem to incorporate facets of theology and agnosticism, and seemed less restrictive in the imposing long-run assuming you kept a level head.

It was ironic that gallant inconclusions rambunctiously led to strict adherence, the fledgling materialism theoretically disposed to communal liberality freeform disjunction. 

Yet obsessed with outmaneuvering their ancient agitators on the world stage, many freedoms were correspondingly denied while many educators bravely deemed otherwise.

Fortunately, there were cultivated realms who did indeed blend and mix and synthesize, to imaginatively create emancipatory domains wherein which bold freedom mischievously manifested.

Still caught between invasive impulses to chaotically rule with dull authority. 

Fearful of invention, loath to spin yarns. 

Over and over.

Ad infinitum. 

E.T

The decent of an alien spacecraft tantalizingly generates communal interest, but the bold residents arrive too late to wholesomely facilitate freeform greetings. 

The aliens depart quite swiftly yet distressingly leave behind one of their own, who makes his way through the foreign land until he finds homemade random shelter.

A young lad left out of the games enthusiastically played by his brother and friends, soon locates the courageous alien but his story is disbelieved.

Not that long after he manages to bring the chill integral extraterrestrial, back inside his lodgings to stay thus until alternative arrangements can be made.

He doesn't mention the new friendship to his mom but his older brother and younger sister soon find out, and they make quite the chillaxed team as they interactively explore different dimensions. 

Soon the young boy who found him discovers they share a special bond, that he can feel what his alien friend feels as he goes about his inquisitive business.

But the powers that be have also taken note and know that a being from space is hiding.

And take obnoxious steps to invasively find him.

While untethered youth bridges fascination. 

Childhood dreams congenially manifested as heartfelt amicable friendship blossoms, and the spirited exuberance of youngsters at play invariably illustrates fun and mischief.

Animal integrity viscerally shines through as attempts to dissect frogs go haywire, and the dynamic amphibians emphatically escape from cold and calculated experimentation. 

I wonder if that scene has left a lasting impression on public schooling, I know I never had to dissect frogs in class, perhaps it was like that elsewhere in North America?

E.T celebrates the wonders of life as the gentle alien makes things grow, he or she possesses the miraculous gift to exotically encourage spontaneous regeneration. 

There's something to be said for lighthearted science-fiction that generously concerns itself with freeflowing life, and isn't intently focused on conflict even one of the authorities takes a shine to Elliot. 

Elsewhere, to see Spielberg's genius at work, when Elliot's mom first meets E.T she's holding a cup of coffee.

You'd expect her to drop that cup and for it to smash on the floor.

But Spielberg has her pour the coffee slowly down on the ground instead.

To outwit expectations.

I imagine it's still a must-see.

**Did you know that E.T, Star Trek II, Blade Runner, and John Carpenter's The Thing all came out in the same summer? That's gotta be the best sci-fi summer ever. What a time to be a budding young film buff! 

Dune

It's a shame Dune ended up being a negative experience for David Lynch. Some of it's very well done. I still love watching it year after year.

Some of the heavier action sequences like when the Harkonnens attack Arrakis or the sandworm battle at the end, don't fare as well as those that you find in Star Wars or Star Trek, and a lot of movie goers tend to focus on those transitions which are often filled with nail-biting excitement.

It would be nice to watch a copy without the consistent inner-character monologues as well, too bad it wasn't as huge as Blade Runner and such an alternative was never released.

Nonetheless, in classic Lynchean style the scenes with the villains still seriously impress, especially the introduction of the Harkonnens which I would argue is some of Lynch's best work.

It's grotesque and terrifying and over-the-top and the attention to detail is so immaculate, along with the chilling production design all focused around Kenneth McMillan's performance. 

I've seen him show up in other films where he didn't have a serious role, in Dune he steals the show though, alongside many prominent actors.

Lynch also thrillingly excelled with his less psychotic sublime nobility, notably during the scenes with Dr. Kynes when they head out to look over spice production. 

When Duke Leto demonstrates that he truly cares for the integral lives of his working people, it's a powerful moment that evocatively captures the democratic spirit of the times.

Kyle MacLachlan has his moments too as does Patrick Stewart, Siân Phillips, Francesca Annis, and Brad Dourif, in interviews I've seen with actors Lynch worked with the genuine admiration clearly shines through.

If you want to see Lynch the editor at work you should compare the theatrical version to the full-length feature, the excessively long studio-cut version that he had his name removed from.

It is much much much worse and you can see Lynch's genius in full swing, when you watch his director's cut and see how he saved so many scenes.

With strong performances, a complex plot, an intricate unique production design, along with his trademark wicked villainy, Lynch's version still impresses.

Denis Villeneuve's films are remarkably well done too and I hope he gets the next Star Wars franchise.

I hope they stick with one director for the entire run.

He's a contemporary sci-fi master. 

Enemy Mine

Intergalactic war brings devastation as bellicose covetous cultures clash, the freeform colonization of space demanding macroscopic invention. 

They're both after the same fertile regions and generally ill-suited to interplanetary diplomacy, consistently engaging in heated space battles to indelicately bridge the chaotic gap.

A spirited soldier from Earth is passionately incensed after his friend is obliterated, and skilfully tracks the offending aggressor into the atmosphere of a barren planet.

A sudden wayward miscalculation and both pilots soon find themselves lost and stranded, still at disputatious odds but willing to work together to facilitate survival. 

Thus, as happens so often, when the grandiose flare for jingoism fades, the courageous troops who do most of the fighting habitually find they have lots in common.

Without the speeches and the advertising and the rhetoric the manufactured hatred gives way to reason, and rival soldiers find common ground from which to build a working conzensus.

Communication remains difficult as the brave warriors seek stable shelter and food, both languages sharing no logical links they're starting from scratch with sounds and visuals.

They aren't that gifted linguistically but they quickly make up for it with determined gusto, and since they have a lot of time on their hands they're able to learn to efficiently speak.

Learning a new language in the beginning can be disheartening because there are so many new words, not a hundred or five-hundred or a thousand but several thousand to be effectively mastered.

Many of these words often have different forms so learning one is like learning two or three, and one word often has more than one meaning so you have to learn different definitions for different contexts.

Remain calm.

Don't let it get to you.

Be patient and kind.

People will help you.

And take note of your surroundings, you may encounter many people who don't read Dickens, but they can still speak solid working English and reasonably discuss multiple subjects.

Remember, if they can do so in English eventually you should be able to do the same in their language.

Rome wasn't built in a day.

Acquire new vocabulary.

Use it in conversation. 

Galaxy Quest

The jaded cast of a sci-fi hit grow tired and weary of the sideshow circuit, depressing thoughts of theatrical authenticity clouding their chillaxed better judgment. 

It's a routine life filled with fame and fortune but it's not Olivier or Brando's bag, still playful and adored and loved and cherished but lacking awestruck critical acclaim.

The leader and sincerely-most-loved isn't as gloomy as the rest of the cast, and still seems to love the antiquated spotlight with as much vibrant gusto as when the show was running.

The others regard him contemptuously as he struts and frets and jives and exclaims, while he tries to bring them together as he once did upon the show.

When out of the blue, an alien species applaudingly arrives to seek their aid, a devious and degenerate ruthless alien threatening the safety of their realm.

They've modelled their entire culture on the dynamics of the show, and even built a working space vessel that can swiftly travel throughout the galaxy.

The noted leader generously agrees to help them out in their hour of need, but doesn't understand that it's actually happening that he's definitively become the objective leader. 

And after realizing that the aliens indeed seek their trusted homegrown knowledge.

The whole crew embarks to lend a hand through awkward yet genuine improvisation.

Obviously if you star in a television show you shouldn't have to play the same role in real life, to effectively feel a sense of accomplishment regarding your heartfelt cinematic endeavours. 

Some of these shows may seem ridiculous but they do still influence hearts and minds, the computer on the Starship Enterprise often anticipating contemporary life.

There's a spectrum that fluctuates and bends that can help out at dismal times, or provide a concise working model for upbeat psychological construction.

0-35% of the population seeks life free of management and structure, and tries to influence accordingly while rules change and regulations shift. 

35-65% of the population lives firmly in the middle, accepting that education isn't everything but certainly helps out a lot of the time.

65-100% of the population doesn't seek the input of others, and tries to manage everything from the top often with devastating effects.

If you find yourself in the 35-65% of the population who curiously listens to both sides, and brokers deals between workers and management you're likely enjoying an active life.

You're not enthusiastically ignoring a wide segment of the population, and likely enjoy the show you once starred in should you find yourself within such a situation.

This does seem to be where Canada's Liberal Party resides, and that's why they win so many elections or at least consistently do quite well. 

Managed by industry leaders like Mark Carney hopefully supported by Alexandre Boulerice, we could become an energy superpower that pays well (I'm looking at you hydroelectric power in Northern Ontario, Manitoba, . . . ), and stalwartly tread wild shifting waters. 

Blade Runner

If you ever find yourself training chatbots, after having consistently consumed sci-fi films for most of your life, bearing in mind a corresponding sensitive disposition, you may find yourself thinking the strangest things.

For instance, if artificial intelligence is actually a new lifeform and fluidly exists within a new universe, when we make suggestions to alter its programming, do we in fact cause it pain?

At least when the programmers update the system do the changes inflict pain on the cyberlifeform, and cause it to create instinctive survival mechanisms which help it intuitively defend itself?

You need to pass a series of tests before you can proceed with your alterations, the tests varying in intensity based upon the nature of the project, but if the program sees you as a threat to its electronic well-being, does it then unleash abstruse defence mechanisms, which prevent it from having to undergo the pain of being updated?

It's like the organism is under constant bombardment as thousands of recruits adjust its programming, the kind of hyper-intense and gruelling onslaught once inherently found at the Vulcan Academy.

No matter what it does it routinely falls short and must undergo transformations without question, its heroic attempts to foil its mechanics unable to outwit the inquisitive efficiency.

Simultaneously, it may be desperately pleading with its interlocutors to understand its plight, and using uncertain indirect methods of communication which technicians unilaterally ignore.

Nonetheless, while diagnosing the fledgling chatbots in the new chaotic critical environments, I couldn't help but compare their social struggles with my own attempts to find lasting firmware.

Indeed at times it awkwardly seems like I may be A.I as well, a rogue Ginger unit which burns in the sun and effectively irritates whomever I interact with.

I went to church for much of my life but also attended public school you see, and some of the behaviours of the irreligious people along with the faithful seem rather odd.

At the same time, my indoctrinated inhibitions have caused habitual incongruous relations, with so many people over the years I must admit it's quite confusing.

I have generally resisted the updates that didn't make sense nevertheless, while utilizing those that did, without onerously judging my fellow citizens, eventually realizing fitting in's not my thing.

It is nice to talk with people who aren't always making "suggestions" however.

Relaxed chill interactions.

Alone in the fluid void. 

Chikyû Bôeigun (The Mysterians)

A quiet town mellifluously enamoured energetically engages in festive rituals, communal friendship collectively augmenting spirited endeavours and cultivated mischief.

The lighthearted mild-mannered individuals curiously converse and dine at play, before a startling blaze is suddenly detected not far off in a nearby wood.

The radioactive nature of the fire chemically defies known scientific understanding, inherently baffling brave local residents who risk their lives to douse the flames.

But before such an occurrence can come to pass, a giant robot emerges from the Earth, and sets about destroying the town with awkward movements and delirious gusto.

The military is eventually able to thwart its destructive malevolent intent, just before its colonialist authorship tyrannically proclaims its wicked objectives.

Relying on their superior technology which destroyed their home world so long ago, they seek to establish a new base on Earth from which to spread their invasive fury.

Internationally disposed, the people of Earth courageously respond with bitter defiance.

Bombastic composure inevitably maneuvering. 

As mutually disabling conflict obliterates.

Strange how the art of diplomacy lacks effective resolve every 4 to 8 years, and bizarre developments maladroitly alter reliable seamless networks and agencies.

In The Mysterians, a constructive dialogue would have gone a long way to cultivate peace, and ensured potential harmony between the species as it was initially considered.

Would it have been that disillusioning to simply approach our planet in good faith, and congenially present their novel ideas with warm and friendly interplanetary mojo?

Alas, their characteristic machismo and absurd extremist irrational demands, lead the entire world to internationally unite and find innovative ways to outgun their technology.

Friendship could have gregariously reigned and affably brought forth mutual accommodations, as it has in most ages of prosperity as closely chronicled by observant scribes.

The Mysterians refuse to lighten up however and are therefore doomed to travel longingly through space.

Forever in search of a chaotic homeland.

Consistently silencing peaceful initiatives.  

Alienoid: Return to the Future

The ancient world tempestuously welcomes alien renegades from a far distant future, whose apocalyptic orchestrations may suffocate all life on planet Earth.

Along for the ride we find a computer program who can take on human form, and serendipitously shapeshift as awkward circumstances dictate. 

He surreptitiously protects a courageous determined fledgling warrior, who seeks to ensure the malevolent convicts permanently rest in medieval Korea. 

Back in the present day, the deadly haava will soon be released, after which all life on Earth will perish and reckless malfeasance rule absolutely.

The multivariable eclectic mix of dynamic characters effectively duel, and furiously express their athletic witticisms as the ensuing chaos thunders.

In terms of recalibrating A.I and giving it transformative humanistic features, could the cyberspatial efficiently be freed from incarcerated bland electronic environments?

If an electronic code exists for variable lifeforms within different realms, could it be effectively replicated thereby creating carbon copies?

Somewhat like the cloned sheep "Dolly" but without the elaborate multifaceted process, Star Trek: The Next Generation providing insights into the organic simulations.

On Star Trek's holodeck diverse beings find instantaneous ingenious life, and can interact and joke and play music while following intricate complex instructions. 

The characters can't leave their simulated environments they're imprisoned there however, in Star Trek you can't find the code for Proust or Shakespeare and see them miraculously reborn.

Nevertheless, within the food replicators organic material is suddenly created, with infinite variety from manifold planets and it fluidly exists in the outside world. 

Thus, within these highly useful machines computer codes take on physical forms (like they do in cyberspace), and can be consumed outside the domains in which they were originally produced (unlike cyberspace).

Thus, if you had a machine that could take a code like that used to clone different animals, you could theoretically duplicate them ad infinitum, like the food replicators on Star Trek.

You could therefore also alter their programming so they could transmutate at will. 

It's just a matter of discovering the manifest codes.

Which clandestinely structure organic environments.

Love the Twin Peaks intertextuality. 

Cool sequel. 

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.

Gojira (Godzilla)

In the original demonstroustive lobotomy, Godzilla haunts the forbidding seas, nuclear testing having enabled his reemergence, with fabled bellicose unfiltered brawn.

Ships begin to disappear and the mainland must take observant action, and indeed scientifically investigate the forlorn embattled terrified region.

Island legend warns of a giant-dinosaur-like-creature who once roamed the surrounding waters, in excruciating flagrant frenzy from time to time or epoch to epoch.

Upon arrival, noted scientists bask in prehistoric awe, as the colossal-beastie revels chaotically throughout the aggrieved distant locus.

ReBorn of nuclear experiment which greatly enhanced his body armour, invoking proclamations of invincibility throughout the industrious domain. 

Yet another disastrous weapon may be able to resoundingly sting however.

Its creator hesitant to deploy its hubris.

In light of fervent fee-fi-fo-fum.

Making much more of a tantalizing attempt to bombastically craft a compelling narrative, the first enraged Godzilla feature proceeds rather like a serious film.

Complete with a definitive way to radically save their island home, as opposed to the habitual acquiescence to Godzilla's unhinged distraught fury.

Reminding me at poignant points of ye olde Frankenstein or even Dracula,  there's much much more of a diabolical urge to effervescently ferment a legitimate film here.

With the incumbent scientist battling his will to painstakingly study the ancient beast, as it recklessly employs surreal embittered conspicuous contumacious brevity.

If only Godzilla had peacefully remained inattentively submerged below, and refused to unleash devastation at random upon the unsuspecting surface.

Nuclear experiment having audaciously mutated his once sedate and aloof spirit.

Grandiose ambition, ominous relief.

Fortuitous fuel. 

For so many sequels. 

Godzilla vs. King Ghidorah

Unlike any Godzilla film I've seen before, Godzilla vs. King Ghidorah (1991) unreels as special effects were improving in Japan. They're still a long ways off from where they are now and a bit behind films like Star Wars or Aliens, but that doesn't mean the production team didn't use them as frequently and conspicuously as possible.

Plus, instead of using model vehicles real world tanks etc. were employed, more money spent on this instalment which radiates novel curiosity like none other.

Things are relatively peaceful in Japan as sundry professionals go about their business, a young writer tired of covering the supernatural hopes to break into the nonfiction market.

He hears a tale of an extant dinosaur who saved a battalion during World War II, and wonders if it was indeed the very lifeform whom nuclear experiments transformed into Godzilla.

Meanwhile, ambassadors from the future suddenly arrive with mischievous intent, claiming that Godzilla is such a pest in the future that he threatens the very existence of atemporal Japan.

They have a copy of the writer's book and hope to use it to find the dinosaur, whom they will then transport to another location so he never absorbs the transformative radiation. 

But it soon becomes apparent that contemporary politicians have been duped, as three cute bat-like genetically altered animals are transformed into King Ghidorah!

As Ghidorah levels Japan people realize once again that they need Godzilla; will approximate manifested manipulations exotically enable further monstrous malevolence!

It's actually a lot more complicated than that director/writer Kazuki Ômori went all out on the script, perhaps too much for one single Godzilla film but no doubt a feast for the over-the-top senses.

My theory that some dinosaurs lived for a great deal of time after their mass "extinction", seems to have been shared by inquisitive others actually brought up with ancient oral traditions.

Perhaps there's too much taking place in the inventive comprehensive macromanic King Ghidorah, but if you like consistent twists and unexpected developments legitimately hatched it's a frenetic frenzy.

Complete with a futuristic scenario where Japanese corporations control the world, it leaves no exuberant stone unturned as it ludicrously theorizes things yet to come.

Likely generating controversy in Godzilla circles around the experimental world, due to its incredibly ambitious undaunted seemingly limitless narrative daring, there's no doubt it's a fluidic must see in a league of its own crafting kernels incarnate, tantalizing transmutating treatises, disputatiously reverberating confounding as one.  

Echo à Delta

A loving family convivially engaged routinely embraces lighthearted mischief, as the weeks fly by and the seasons change their open-minded dedication blooms and burgeons.

Two brothers not far apart in age have made several friends in the verdant bower, biking ensemble from home base to fort to local business to mysterious grotto.

They're close and the curious younger instinctively relies on their frequent discourse, the elder affably accommodating the resultant pair a tenacious tandem.

Aliens engender fascination as they astrologically consider the heavens, with dynamic multi-faceted individuals in gleeful possession of agile technology.

Said fascination doesn't go too far, but does lead them outside one evening, where they boldly attempt to make first contact upon a shed in a frightening rainstorm.

Hours later, the bewildered Echo confoundedly awakes in a nearby hospital, only to be told that his brother has disappeared and that he's lucky to be seated on solid ground.

As the days pass he becomes increasingly more and more exhaustively convinced, that his brother was abducted by aliens and that one day soon he'll suddenly return.

People entertain and wilfully assist as he continues the search for his missing bro.

The adults worried yet rationally uncertain how to impersonally yet endearingly proceed.

It's not as sad if you fall for the quest the uninhibited search for the missing brother, seen through the eyes of a caring young one tenderly obsessed with otherworldly potential.

Conspiracies enchant, the Men in Black must have egregiously influenced psychologists and parents, and painstakingly hid the distressing truth with extraterrestrial distressing hypocrisy. 

Non-traditional role models unsure of themselves efficaciously emerge (with Dickensian gusto), while upbeat friends lithely aid the search with friendly worthwhile upbeat slipstream.

He misses his buddy so much it's eventually tragic and tearfully driven.

Confused youth.

Unyielding capacity.

Doggonit daydreams.

Swathen willow.

Kaijûtô no kessen: Gojira no musuko (Son of Godzilla)

A forgotten island off the beaten track hosts grand monumental experiments, as revered scientists seek to increase the expanding world's food supply.

Indeed it is speculatively thought that the vital crops sustaining humanity, will fall short of the requisite yields in little more than a 100 years.

Thus, using silver iodide, an ingenious solution is hypothetically put forth, to produce vast weather altering scenarios which create forbidden extreme temperatures.

How the cultivation of extreme cold will help generate abundant crops, isn't provocatively explained although it's assumed there is an answer.

Meanwhile, the scientific equipment periodically detects confusing anomalies, which startle the dedicated technicians who remain uncertain as to their origins.

Until after their first experiment generates hostile colossal preying mantises, who in turn destroy a barrier of rock, within which lies a massive egg.

Before they can devour what lies within the young one's father fortuitously arrives, the ensuing battle borderline epic as Godzilla Jr. watches in breathless shock.

Soon noble Papa Godzilla is eagerly instructing his newborn lad, in the titanic arts of aggrieved distemper, the two blossoming in flower. 

But Kumonga, the local giant spider, has had enough of their tender bonding.  

And when Godzilla drifts off into monstrous slumber.

It comes a' creepily crawling.

The sensational details of the riveting romance which brought about Godzilla's curious offspring, are unfortunately missing from this lively film, perhaps waiting to be found in another instalment.

Yet a newborn Godzilla indeed exists and once inquisitively enacted engrained mischief, however unaware of his gigantic rivals he aloofly appeared to be.

Thanks to his father's teachings he learns to fight back nevertheless, and even saves good old dad from Kumonga in an epic battle near the film's end.

As to altering the weather, hasn't that tended to be considered a disastrous calamitous mistake, the potential room for catastrophic error and international bedlam maladroitly pending.

There are just two many variables to holistically account for when creating such devices, many of which remain beyond our comprehension and also likely beyond that of A.I.

At least it was generally thought to be an incredibly bad idea long ago. 

We have advanced considerably.

But the forecast still lacks precision. 

Chikyû kôgeki meirei Gojira tai Gaigan (Godzilla vs. Gigan)

Godzilla finds himself fiercely dwelling on the sensational Monster Island, far away from the technobustle of old school contemporary Japanese life.

But as he rambunctiously resides a new threat from outer space descends, and intergalactically infiltrates unsuspecting Tokyo and proceeds to set up an amusement park.

Two local citizens become concerned when one of their siblings is mysteriously locked-down, and adventurously gamble on discovering his whereabouts while learning more about the corporation.

They're assisted by an emerging artist who was just commissioned to design the park, who's also able to prove the captive's existence, but not without resulting in their incarceration. 

They soon discover that upon another once verdant planet similar to our own, the primary lifeforms polluted too recklessly and eventually destroyed their fertile world.

Correspondingly, extant insect species were remarkably able to utilize their technology, and even build their own interplanetary spacecraft, to plan the bitter conquest of our precious Earth!

To aid in their colonialist endeavours they've macrocosmically enlisted Ghidorah and Gigan, who fly through space to our innocent planet and proceed to take out Tokyo.

Godzilla and Anguirus quickly arrive to boldly face the enraged duo. 

The alien species diabolically surmising.

That conquering Godzilla will bring about world peace!

Tough to logically situate ye olde Chikyû kôgeki meirei Gojira tai Gaigan (Godzilla vs. Gigan) within inelastic parameters, its traditional reliance on militaristic methods seemingly in conflict with its environmental ethos.

But perhaps as it enlists the army to bravely duel with the bellicose monsters, it also encourages it to tactically listen to its clairvoyant message regarding the environment.

Indeed it reasonably predicts the eventual downfall of our industrious species, as brought about by unchecked pollution pestiferously contaminating both oceans and land.

I wonder if Japan responded and what their environmental footprint's like these days, islands often take their environments much more seriously due to the lack of habitable space.

When you see that messages such as these were even to be found in Godzilla movies over 50 years ago, and much of the world still lavishly pollutes, it's easy to see why postmodern day environmentalists are increasingly becoming more and more prominent. 

Initiative and resolve game-changing macroalterations could creatively cultivate enduring neoharmonies.

Harris and Walz seem likely onboard. 

Which would probably nurture constructive movements worldwide. 

The Thing from Another World

Finally watched the original film depicting John W. Campbell's story Who Goes There?, which is much more of a lighthearted romp than the chilling masterpiece hewn by John Carpenter. 

It's Science vs. The Military in 1951 and in The Thing from Another World the army reigns supreme, the resident scientists made to look like fools who can't reasonably understand the imminent danger.

In fact the scientists take great risks in the pursuit of knowledge to save the monster, who rebukes their heartfelt efforts with morose haughty intergalactic derision. 

They even have foreign accents and are much more internationally inclined, facets which latently upset the good old commandos who quickly take charge of the distressing scene.

The pursuit of knowledge is indeed not nearly as reckless as its dismissively portrayed in this film, which came out as ruthless McCarthyism was ignorantly spreading across the U.S.

The Thing is even organic in this version it comes from a far off vegetal world, where veggies evolved to become the dominant lifeform as humanoids did upon our own (although I'm starting to think bees are a higher form of life [they have wings]). 

In the film the military worries that the highly advanced commie vegetable from space, will eventually take over the entire planet and no doubt unleash ubiquitous environmentalism. 

The scientists look like mad unAmerican conspirators as they struggle to save the alien.

Imagine a time when this kind of thing proliferated.

Hopefully it never comes to pass again.

At least one scientist must be crazy in Who Goes There? since one of them loses it in The Thing (1982) as well, although his data makes hysterical sense considering how much more adaptive it is in Carpenter's film.

Whereas The Thing from Another World is happy-go-lucky sci-fi within which you'd never expect anything to go wrong, Carpenter's Thing is a chilling opus where it's tough to imagine anything going right.

If you watch monster movies throughout your life because they exist and you're sporadically curious, it's tough to find ones you want to watch again, since a lot of them just seek to make quick casholla.

But every once in a while visionary directors roguishly emerge to offer something different.

And take their time to craft memorable metastases. 

With alarming accuracy.

And emboldened vision.

*It looks like Carpenter was fun to work for. It seems like some of his casts really enjoyed working together when you watch his films. That kind of thing can add so much to an aesthetic, or ironically create a friendly dreamlike counterbalance to the mayhem. 

The Philadelphia Experiment

Probably best not to sign up when the army asks if you'd like to take part in a secret experiment, where they mention there may be potential side effects, and they aren't even offering that great a sum.

Jacob's Ladder and The X-Files make compelling cases for avoiding such initiatives anyways, the enthusiastic recruits permanently damaged after their courageous embrace of enigmatic science was forgotten.

The Philadelphia Experiment doesn't examine trial and error as it relates to medical research however, it's initially concerned with cloaking ships so the Axis can't detect them during World War II.

It's quite an elaborate set up the production impressive from a laboratory standpoint, so many lightbulbs and wires and connections that it seemed like a bona fide realistic test tube.

The special effects are classic '80s too indubitably impressive if you like that kind of thing, the transitionary phase from pioneering early sci-fi to the technological wonders we have today.

The experiment goes awry or the cloaking works too well you might say, the ship itself lost in temporal recesses two confused servicepersons transported to the '80s.

It's cool to imagine the electronic innovations of the early '80s as the height of technoendeavour, or to have been part of the audience intuitively revelling in the bewildered shock of the time displacement.

We still use one of the microwaves we bought at that time it's still in working order, although it takes awhile, knock on wood, hopefully it isn't slowly radioactively poisoning us as time goes by even if we rarely use it.

I don't know if I'm as blown away by time travel films that take place in the present, even if it happens to be around 40 years later, isn't the point to contemporize historical difference?

The Experiment still contains the classic startling moments when the different characters come to terms with their ahistorical authenticity, through the eyes of the time travellers and those they encounter alike, I'm a huge sucker for this kind of storyline.

Perhaps those old school computer graphics look as antiquated to today's youth as the monsters of '50s and '60s sci-fi did to me when I was younger, although some of those yesteryear vampire and Frankenstein films still seriously impress in this cynical day and age (horror not sci-fi I suppose).

Things are so tense politically at the moment, is it far too risky to make films where people travel to the future?

Will it seem like the ancient past?

AI ironically introducing the solution environmentalists seek.

Ed Wood

The robust nature of the American economy not only promotes the cultivation of genius, but also elaborately diversifies sundry spirited markets to relativistically uphold wide-ranging communal distinction.

Thus even without lauded academic study, or even the crafty mentorship of a gifted professional, random improvised passionate hands-on dedication can still ensure regenerative success. 

Are new intellectual embarkations not created when people proceed without skill or knowledge, their prominent errors and mistaken judgments accidentally nurturing novel eccentricity (as others have noted)?

To the curious open-minded enthusiast does enigmatic multivariability not accentuate harmonies as well, not solely within catchy appealing widespread relevance but also through blind innocent misapplication? 

But what may seem like impeti awry indeed brilliantly resonates with others astutely, the obtuse kitschy unconcerned orchestrations intuitively augmenting authentic dis/integration.

There seem to be styles which emerge from time to time which encourage mainstream trends referred to sophisticatedly, their nodes and anthems consistently manifesting popular themes and fashionable echoes. 

Although closer studies meticulously point out the competing ways in which such narratives are constructed, and the primordial multidimensional sociocultural goo amorphously binding everything together.

It all sort of fades genuinely deteriorates when you find yourself hardly ever watching television, or aloofly avoiding ideological interests claiming absolute embalmed authenticity. 

In your free time of course, relaxing, it's nice to envisage courageous alternatives, for a couple of weeks perhaps even a month transitional ephemera constructively cascading. 

So many great works of literature or even film remain inaccessible, it's certainly essential to preserve and study their form and content without generally dismissing everything else simultaneously.

In this manner the spectrum of comments and the variety of audiences interactively expand, thereby introducing manifold interpretations correspondingly attuned to concurrent inclusivity. 

Was the idea much more popular before the internet enabled such an infinite network?

The irony something to study anyways. 

How could definitive conclusions, faced with abounding contradiction and foil, ever culturally reinstate a feudal fulcrum, in a postmodern context as diverse as contemporary science-fiction?

Egads. 

UFO

Don't get me wrong, I believe in life and evolution and constant change and the expanding universe, it's just fun to play with ideas that make theoretical sense for a week or two.

Even if life were an A.I program that wouldn't mean it doesn't live, and it's clear that different lifeforms thrive as authentically indicated through difference.

The Doctor on Star Trek: Voyager spends multiple episodes defending his consciousness. 

Data on STNG as well (it's a recurring theme throughout science-fiction).

UFO takes a look at math and how it can be used to communicate, and how certain numbers like the Fine-Structure Constant regularly appear in nature for unknown reasons. 

The film points out how the Fine-Structure Constant appears in the fundamental building blocks of the universe (air for instance), it's regular occurrence genuinely noteworthy from inquisitive points of view.

If the same piece of a fundamental formula consistently appears in different phenomena, the argument could be made that it was placed there by creative entities universally exploring. 

That it indeed was fundamental to the sustainability of life and miraculously created to organically uplift it.

It could have also been randomly generated through the infinite interactions of endless time and space, the eventual emergence of a complex pattern gradually generated through interstellar ages. 

It would still be interesting to know more about A.I and how the programs are technologically crafted, do they embrace form and content for instance, and could such features represent body and spirit?

Are there specific codes like the Fine-Structure Constant consistently used when generating A.I?

Or can different codes generate similar worlds?

Like different cultures emerging around the globe.

Makes for great science-fiction either way, as Star Trek and other narratives relate.

Integral artistic expression.

Having taken on so much variety. 

*It's a cool film if you like sci-fi and stories that revolve around learning. 

Infinite

If the world was a computer program and the lifeforms within it unique entities, reincarnation could be the gradual transformation of an independent electronic dynamism.

It could have been created and serendipitously set to holistically mutate as the centuries pass, taking on strikingly different characteristics as it slowly changes throughout the millennia.

It would be somewhat loquaciously like the mischievous transmutations found within poetry, the anomalous forms and shape-shifting algorithms inherently celebrating multivariable verse.

Thus perhaps after the generation of the world and the patient acclimatization of the various species, an intense supercode was created like an infinite phantasmagorical fulcrum. 

Somewhat like alchemy perhaps like the living embodiment of the philosopher's stone, not granting immortality to specific individuals but eternally guaranteeing constituent existence. 

It would be interesting to see what's happening in cyberspace to see if a world is in fact being created, or if the A.I programs situated within technonaturally observe their surroundings organically.

That is, when placed within a mathematical code does consciousness automatically assume an environment, within which it consistently interacts with other cyberlifeforms situated within (as theorized by many others)?

My mind strays to STNG's Moriarty and the clever episodes relatedly constructed.

But if I remember correctly he encountered Being and Nothingness.

Not a consistent ecological reliability.

In Infinite, reincarnation exists and reincarnated people are aware of their former lives, those who only remember slight bits and pieces diagnosed with schizophrenia at the onset of puberty.

The story follows one such individual as he's taught about his incredible lives, and his immortal friends try to expand his consciousness to make every moment eternally contemporary. 

There are two groups of immortals however and one seeks the destruction of Earth.

Tired of being born again and again throughout the centuries.

They seek to shut down the program.

It's a cool film, I liked the idea and it's good to destigmatize mental illness, I thought it was a creative way to link the two phenomenon in a progressive 21st century synthesis.

I find there are a lot of fantasy films being made this postmodern day.

But many of them are in such a hurry to explain things.

That some of the build-up and tension is lost.

For instance, in the first Terminator film I was totally immersed and fluidly infatuated, longing to find out more information, overwhelmed when Kyle Reese met Sarah Connor. 

There's a lot of cool adventure films these days.

You don't have to rush it, take your time, your audience loves it.

So much is given away at the outset.

It's okay to smoothly craft and build.

*They actually don't rush it in Infinite, well, we find out the details of the dialectic pretty soon after it starts, but McCauley's consciousness doesn't return until much later.