X-Men: Days of Future Past

Evidently, cause and effect temporally deducing, internal philosophical differences debating an approach, the struggle to survive polarizing its parameters, the fact remains that a choice was made, its destructive consequences perspiring an end game, a solution transporting a stabilized atrophy, back to the source, to realign its origins.

Smoothly and shockingly aspiring to First Class, X-Men: Days of Future Past rivetingly integrates their two timelines, flexibly intertwining the old with the new, investing the best of both worlds with Wolverine (Hugh Jackman).

Harnessing irrepressible elasticities.

Magneto's (Michael Fassbender/Ian McKellen) might-is-right response continues to rebel against Professor X's (James McAvoy/Patrick Stewart) republic, as both are given ample contraceptives, their ideals tumultuously tested, by acts of genocidal supervillainy.

Perceived threats, prejudiced itineraries, Magneto's malignment, Professor X's stand.

Why difference has to often negatively preoccupy powers-that-be doesn't make sense.

Such attitudes can turn potentially productive community members into bitter antagonists, generations of Magnetos, time after time after time.

A cultural framework open to alternatives multiplies the conditions through which it can innovate and progress.

Infinite combinations and constructions.

Limitlessly inducing.

The film's really well done.

What a beginning.

Prometheus

And a group of scientific diplomats and their escort departs on a trillion dollar mission financed by Weyland Corporation towards a planetary alignment discovered by a team of archaeologists upon several ancient culturally isolated works of art.

In search of those who brought life to their home world.

But their investigative proclivities awake volcanic slumbering behemoths whom are intent upon annihilating their planet.

Which has functioned as their laboratory for millennia.

In the end, only a devoted non-denominational Christian (whose faith still burns) who at one point initiates a self-inflicted abortion and a brilliant amoral android who was responsible for infecting her husband with the fertile extraterrestrial virus, remain.

Still determined to make contact.

Still driven, to carry on.

Ridley Scott's Prometheus has its moments but on the whole functions like an amorphous geyser, patiently stratifying different levels of neuroses before startlingly expelling their searing undulations.

Several approaches to handling the unknown are precipitated, each exemplifying differing degrees of prohibition.        

Thereby carnally creating within a paranoid social constellation.

And intergalactically quarantining exploratory consonance.

Men in Black III

The clandestine Men in Black security force is back to monitor Earth's alien activity in the franchise's third instalment, Men in Black III, fully loaded with neuralyzers, inexhaustible technological and knowledge resources, a law enforcing odd couple, and monumental temporal distortions.

Just in time for Summer. 

If the darkness is literally thought of as a nocturnal limiting force within which means of generating light must be creatively produced in order to enable vision (fire, candles, electrical lights), and this literal example is then metaphorically transferred to the domain of patriarchal construction (Men in Black), then perhaps this film is saying that one of the ways in which the male traditionally tends to visualize attempts to quarantine the unknown (the feminine, difference, egalitarianism) is by interminably equipping solid and steady agents of cultural homogeneity with flashy gadgets and binary intergenerational banter which provides the elder with a stubborn and taciturn way of expressing himself (he's seen everything before and seeks to waste no time discussing things) and the younger with an endless supply of frustrated curiosity.      

In Men in Black III we find Agent J (Will Smith) and Agent K (Tommy Lee Jones/Josh Brolin) at work preventing the public from preserving extraterrestrial information. Traditional heteronormative difference is supported while gender bending is not. Of the two most prominent female characters, one is motherly (she has a prominent position in the present but doesn't directly take part in the action), the other, a criminal (who dies early on).  Agent K, who reads the entire menu every time before ordering the same thing, is the more elderly of the two (while the options have multiplied, he remains resistant to change). After Boris the Animal (Jemaine Clement) heads back in time and kills him, Agent J's present turns into a war zone as aliens invade to destroy the Earth. After travelling to the past to save his partner, Agent J is pulled over because police officers are stopping every African American driving a nice car. Agent J has stolen the car and is African American. Now, he has stolen the car to save the perseverance of an unyielding content permanency in order to prevent the Earth's destruction. Meaning that if the side effects of this permanency had been successful in the past they would have resulted in their own annihilation (Agent J escapes).  Yet those very same side effects are indirectly legitimized by Agent J's actions. Which also include monitoring difference to ensure that its multidimensional presence doesn't have a disruptive effect.  

The Men in Black films do directly acknowledge and imaginatively fictionalize the existence of well funded secretive agencies designed to prevent the public from learning, but don't seem to recognize that this is problematic, since they're made to look fun and hip yet rigid and combative.

Like a euphemistic police state.

Which isn't very bright.

The Avengers

Prominent Marvel characters begrudgingly unite in Joss Whedon's The Avengers to battle the tyrannical intentions of the recently freed Loki (Tom Hiddleston). Loki travels to Earth in order to commandeer the Tesseract from S.H.I.E.L.D for the Other (Alexis Denisof) who promises him an army of Chitauri warriors in return (with whom he can launch an invasion).

The Tesseract is an extremely powerful and seemingly limitless source of energy.

The overt film's explosive enough, as superegos convincingly clash and physically exhibit their prowess. Their introduction's are concise and pinpointed, their initial meeting contentious and energetic, their conversation's confident, inquisitive and challenging, their commitment during battle self-sacrificing and unwavering, and so on.

Approaches and tactics are intently scrutinized before the necessity to act demands a united counter assault.

Much like any given Sunday.

This business of naming the overarching villain The Other is quite troublesome, however, insofar as this can be viewed as external difference financing and supplying Loki's imperialistic ambition.

Which is xenophobic.

And sucks.

After a nation engages in imperialistic activities a degree of underlying cultural paranoia is retroactively generated which can be thought of as manufacturing a subjugating unspoken psychological incision, an example of this incision's profusion being even more excessively manifested in A Song of Ice of Fire.

The Avengers themselves are exceptions overflowing with otherness as is S.H.I.E.L.D and the film's final confrontation takes place in New York.

These are local irreplaceable others, however, produced on planet Earth, apart from Thor (Chris Hemsworth).

As these special local others combat the 'extraterrestrial' forces of the Other in a metropolitan other the military's solution (the closest possible [ludicrous] representation of the people's voice in this film) is to send in a nuke and unabashedly obliterate all forms of difference.

But the narcissistic techno-other who cannot be somnambulistically subdued by Loki's sceptre catches that nuke and directs it into space, thereby using his 'idyllic' individualistic entrepreneurial ingenuity to simultaneously crush the threat of colonization and prevent a government sponsored homeland nuclear disaster.

He is then saved by brute force as he helplessly falls back to Earth (there's a disturbing image for labour relations [corporate fiefdoms anyone?]).

Thus, not so pleased with what's going on behind the scenes in The Avengers.

Thor does chastise Loki for considering himself to be above his potential subjects.

Thor who is from another planet.

Nice to see Harry Dean Stanton nevertheless.

Super 8

An exploratory mission crash lands in hostile territory. Detained then imprisoned, an adventurer is ruthlessly analyzed. One dissident voice seeks his or her freedom. Aided by a group of film making youths after sacrificing his life for socialized synchronies, his mission miraculously proceeds as they do everything within their power to combat their imperialist foes.

J.J. Abrams's Super 8 fictionalizes xenophobic agendas in order to symbolically expose their misguided agencies. Within, the exclusive factor seeks to know the other in order to capitalize on its difference through recourse to carcinogenic means. Secrets which likely would have been eagerly shared if a framework had been in place to encourage their dissemination are therefore resolutely withheld, and a progressive exchange of ideas is transformed into a bloodthirsty polemic.

The resistance proceeds unabated, breaking through manufactured manifests to pursue a personalized mission which becomes cultural after previously classified information materializes.

Friendships are tested as unforeseen circumstances and desires challenge their historical order of things.

The pursuit of love accidentally precipitates justice as modesty, courage, and wisdom are enlisted.

Furry Vengeance

Roger Kumble's Furry Vengeance is actually a lot more than an annoying comedy with poor bear representation and far to many repetitive scenes. It's also an attempt to indoctrinate children with an eco-friendly racist attitude regarding globalization (I suppose this is about as progressive as Republicans get). As the film unreels, real-estate developer Brendan Fraser (Dan Sanders) plans to turn a forest into a subdivision and cash-in both professionally and economically. But the forest's residents are aware of his ambitions and set out to annihilate them. As time passes, Fraser realizes that the animals are simply trying to protect their families in the same way that he is trying to protect his, and he consequently takes their side in the order of things. But his change of mind angers his Asian American boss who was trying to raise the related development capital from a group of East-Indian industrialists and all hell breaks loose at the annual town festival. And the reconstituted American champions the rights of his community and India and China are prevented from ruining the American landscape. Children should be spared the ways in which films like Furry Vengeance attempt to xenophobically and racistly indoctrinate them, and it's a shame trash like this received a widespread mainstream distribution.