Blurbanal

*I miss birds in winter dad. It's fun listening to them in the warmer months.

**I can't disagree with you there son, there's nothing quite like early morning bird song.

*Crows can be kind of a pain I guess, when they gather and won't stop squawking, but it's cool to see them at first, they're pretty impressive birds. 

**You've got to look past the mysticism and focus on the concrete innocence, they're clever indeed for sure but clairvoyant considerations lead to malign contingencies. 

*Do you think birds used to be dinosaurs? A lot of big time scientists seem convinced.

**I tend to trust what they say especially if there's disagreement, but if dinosaurs shrunk and grew wings after millions of years, why do turtles still have shells, and why are crocodiles still so big?

*Could there have been divine intervention?

**The balance of Nature is oddly harmonious. 

*Could aliens be using our planet for research and development?

**I'm not wise enough to say "yes" or "no". It's possible they used to show up regularly, but then infighting or some kind of environmental disaster cut them off, and things started mutating without their husbandry after that.

*Viruses emerged. Toxic discourse.

**Most of the toxic manifestations seem to have been generated by humankind. 

*Is Global Heating like one of Riddick's Elementals, then, a mutated force seeking to achieve environmental harmony?

**We aren't treating the environment very well. If a conscious presence wanted to intervene but couldn't do so directly, it might take the artistic route, and unleash apocalyptic reckoning.

*Is that where zombies fit in?

**I would imagine so, son, I would imagine so.

*Especially in this political climate.

**Caw caw caw.

*It's a bird's life for me.

Star Knight

Alien encounters likely stretching back towards the dawn of unrecorded time, with comings and goings awkwardly authenticated through mythical beasts and august miscellany.

Technologically advanced and spiritually endowed with intergalactic frenetic moxie, facilitating custom, ritual and duty, beguilingly acquired through fragmentary permanence. 

The learned scripts and scholarly vicissitudes inarticulately duplicating alien codes, enriched through composite zealotry, credulous passion, and enduring faith. 

At times the bloodline even embraces extraterrestrials with righteous dignity, interplanetary breeding readily accommodated through random hookups and disciplined matrimony. 

The resultant mélange cosmopolitan and frisky encouraging dynamic multidisciplinary overload, as accordant emotion and wilderness whimsy viscerally intertwine with magnetic frenzy. 

In Star Knight, for intriguing instance, an alien descends to monitor humankind, and meets through random accident the nimble daughter of a local ruler.

The people believe his ship to be a dragon and retreat in horror when confronted, his mission peaceful his role observatory his curious action gallant and discerning. 

Seeking to be left exotically alone he amicably returns the maiden to her father, but not without having left her inquisitive and bold regarding the heavens and interstellar union.

A knight seeks her hand as well and is willing to fight to one day receive it, the alien confused by the chivalric ritual and notably uncertain as to how to behave. 

A local alchemist can't believe his luck and thanks the aliens for their coveted gifts.

Before his rivals curse his ambition with routine interminable banality. 

The question remains, what does one say if suddenly greeted by an alien, how should you react, what should you ask, is communication possible, would they try a buffet?

With the different options available at a buffet it's a good place to begin exploring terrestrial culture.

Don't visit the zoo, it may give them the wrong idea.

Cold glass of water.

La Ronde or Canada's Wonderland. 

Embargo

A lot of the time nothing happens, it's just another pit stop on random travels through remote deep space.

Not that a special still isn't prepared with intergalactic creative agency, the spices and flavours universally attuned to sociointerplanetary blends.

Some courageous voyagers intermittently get stuck from time to time, and elaborately engage in improvised storytelling with neither point nor plan nor passion. 

Others are predictably happy since they know a meal will be provided, and they'll see familiar faces, and casually observe the fractious horseplay. 

Never to be overstated with cold calculating brevity, the habitual mélange of success and struggles encouraging mischief if subtly displayed.

There is naturally the gallant explorer who likes to keep in touch with everyone, and smoothly offers his freeform hand with sincere friendship when they meet.

Recklessly juxtaposed with morose envy which can't get along with anyone drifting onboard.

Factions wondering how they'll interact.

As the political climate ebbs and flows.

The featured characters would have seemed less impressive if they hadn't been imaginatively endowed, with curious examples from different planets graciously spread throughout the galaxy.

Teaching others traditional means and orthodox methods of entertaining, playfully leads to animate constructs independently achieved through clashing customs. 

Relevant enough to any spaceport individualistically thriving off planet, while embracing collective distinction through subjective artifice and lucid transmission. 

Introducing new characters mid-film can be a risky venture, but lightening the mood with Andromedan tenure helped further build the antagonistic crescendo. 

Steadfast solar bemused credentials.

Mixed with resolute indifference.

Nothing too fancy,  light interstellar luxuries. 

Embargo snatches up novelties. 

With longlasting themes.  

Fluxurious

Bogged downhome stasis marchery twang

fennigan 'fuffle swampersand dune

vetted dissected clackety cruise

mariner magpie holstein hearth

grimacing ghoul fortuitous frown

withering wince marmellow mash

emotive 'flage cornhusker 'fuge

soma 'lacrum hybriddle hocus

vocal pinpointdextr'ous mismatched membranes

marbled conduction blithering dearth

spiralling hatch swineyard sortie

dissolving adorable gothic fluidity 

tomcatty jones charming enchantment 

jejunglee jinx barrelhousebound

calico crisper fallow retained

'ciferous vocab ornament lex

eclipsing pulsar stately ambrosia

festoon tycoon garland croquet

dazzling dust devil whimpering slight

tarragon tremors fastened askew

oblong kyoto cryptic hiatus

banishing bulge frugal inception

inchoate cream shimmering gown

Cadillac quorum quadrant variable

swish-ke-slob scurvy redoubled effortitude

scallywag sympatico zesty relish 

casabathousebound embryo unction

thoroughbred chalice jocose enterprise

imbroglyonostrum elliptical clash

asphyxiated stifle babbling brouhaha

rabble roused recourse diverse counsel

chaotic quench salient enclave

starboard sufferance anointed Druid

peripatechnic sparmesan crust

immersive axiom rotisserie ramshack

nutrient nebulae languid larva 

maquillage malcontent austere spontaneity

cloaked conditional hollow imperative

pirouette pewter symbiotic swirl

obscure definition gourmantic glade

ricochet Richelieu neutrino nuance

photon overdrive daguerrotypical

artifice flume Boston cream

volcanic cosmos obsidian crest

ironcalladin technicolour tempo

salamander skimp collusive sublimity

hyena harken hammerhead hail

metropolitan magma meadowlark slam

marathon mingle fingerling fresca

opaque jasmine saturnine hinge 

lunar module bivouac burnish

starling doppelgäng squadron threshold. 

The Blob

A quiet night in the peaceful countryside picturesque and romantic, delicate and adoring, a young couple familiarizes itself with the night sky through active stargazing and vigilant discernment.

When a gigantic meteor from deep within space suddenly lands nonchalantly nearby, a local woodsman out for a stroll in the vicinity taking a closer look.

At first everything seems fine it's just a rock harmless and nondescript, but after it cracks open a translucent goo gesticulates and wavers with distressing undulation. 

The woodsman picks it up with a stick and then brings it to his hand for closer inspection, where it smothers his skin and absorbs his bones with greedy invasive absolutist hunger.

The young couple arrives to find him overwhelmed with pain and helpless frustration, they immediately agree to give him a ride to a local doctor who agrees to see him.

Back in town everything seems fine shenanigans alight - a dull even intensifies.

As the encumbering goo increasingly expands.

Aggressively digesting.

Every human it encounters.

It's clear that imminent space danger is posing a limitless unprecedented threat, and the grandiose resources of the entire world should be excessively deployed as a countermeasure. 

A giant interconnected web of satellites should gallantly cloak the world complete, to boldly save our economic interests and definitively ensure that nothing gets through.

If North America, in consultation with the United Nations, comes up with the imposing ubiquitous design, aesthetically vetted by Québec, and humorously lampooned by Ontario, the effective blueprints should be ready in a fortnight, after which security will be impeccable. 

Threats from space should only modestly take up around 3.5% of global budgets, and should we hunker down and buckle up there's no freakin' tellin' how much "ground" we'll cover.

I used to think the night sky was just a peaceful tranquil dome, effortlessly excelling at facilitating dreams and coordinating wise immaculate dominion.

But with the tangible threat of the enemy it casually obscures it must be tamed.

Like the frontier from The Last Starfighter.

Let's get 'er done!

Just in time for Christmas.

Terror of Mechagodzilla

Robotic remnants sensationally scattered seabed sentiment covertly collected, awestruck absence belittled jaunting seductive salvage automaton rancour.

Dilettante dinosaur secluded submersion indelicate mind coercive concept, malignant control symbiotic surrogate submaritime sawdust cantankerous clippings.

Stealthy environs determinate strategy hamstrung hijacking tantalizing salience, interplanetary postures ambient armageddon abhorrent apocalypse enigmatic experiment. 

Familial felicity parental pondering dogmatic child filial fidelity, cloistered core values innocent isolation dutiful dagnabbit sequestered solace. 

Indisposed resurrection mechanized reanimation Domtar domination Mechagodzilla, disputatious temperaments argumentative outbursts insouciant ardour eclectic acrimony.

Finagled friendship tantamount teamwork tumultuous talents solemn smithereens, colossal candidature misaligned militants monstrous agglomeration global annexation.

Clandestine infiltration insatiable station erratic complacence dissident contemplation, eminent embarkation exotic distillation yabba-dabba nascence Doonesbury cadence.

Conscientious reluctance harbinger hesitance awkward immersion frenetic fervour, disciplined dalliance rebellious remonstrance Ringwaldo whereabouts lumberfreejacoby's.

Damselznick infatuation co-opted cohesion nefarious negligence neolithic hide, discursive disruptor alien agonzo meticulous Malachi Mt. Rushmoroeuvre. 

Canteborn conducive Caladan candlelight amorustik-tok acoustic ambrosia, agonized decomposed sullen altercation romantic maladroit dissonent engagement. 

Truculent emergence legionnaire lizardoz counterintuitive calicode succour, impassioned battle gargantuan Grenoble despondent destruction gainsay Godzilla.

Epoch endurance silicon studios eccentric enchantments mayhem metamorphoses, consistent concomitant delirious dramaturge ferocious febrile bewildering frequencies.

Endemic change multivariable matadors exuberant bastions abbreviated dispatch, agile acclimations bizarro adaptations extemporaneous interludes geologic sashay.

I wish I could get the sound Godzilla makes on my keyboard.

Audible discernment.

Wavelength latitude. 

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. 

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! 

Gezora, Ganime, Kameba: Kessen! Nankai no daikaijû (Space Amoeba)

An unmanned vessel is sent into space with the inquisitive ambitions of studying Jupiter, alone and courageous it magnetically travels in resourceful steady industrious wavelengths. 

But as fate would have it, a discourteous entity serendipitously commandeers its research & development, and immediately sets course for the unsuspecting Earth where it inauspiciously lands in the Pacific Ocean.

The craft is reported as missing and daily routines mysteriously sublimate, the enervating misfortunes scientifically smothered by polemical disputes concerning the galaxy. 

Nevertheless, an observant photographer saw it awkwardly land while travelling by plane, and even though no one authenticates the sighting, he vigorously maintains his fortunate vision. 

At the same time, he's reliably hired to diligently photograph an island in the Pacific, which happens to be situated around the same place where he accidentally saw the spaceship descend.

Gregariously accompanied by an amicable team they bravely head out to the isolated wilderness, curious to meet the local inhabitants who have imaginatively lived there since the dawn of time.

They superstitiously fear a giant sea demon by the name of Gezora who lives in the depths. 

The alien entity having unwittingly assumed.

The ancient enigmatic uncompromising deity. 

Not the most well-thought out of the captivating freeform creative monster movies, Gezora, Ganime, Kameba: Kessen! Nankai no daikaijû (Space Amoeba) still startles and accentuates otherworldly absurd and ludicrous pretensions. 

A more sincere critique of the commercial desires to turn the island into a resort, would have materialized virtuous acclamations ethically attuned to Indigenous agency.

Yet perhaps it indirectly critiques commercial endeavours through its bizarre depiction of the covetous alien, who is rather diminutive globally speaking yet still seeks to effectively conquer the world.

Is that not the initial hubris of so many adventurous businesspeople, who hope their products will establish footholds in worldwide markets internationally speaking?

Starting out from humble origins they create commercials to advertise their wares, which are somewhat like the creature in Space Amoeba who effectively irritates the tenacious locals.

Ridiculous to see interplanetary ambitions maladroitly unleashed in animate obscurity. 

Endemic wildlife saving the day.

As it has throughout the millennia. 

*Criterion keyword: turtle.

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.

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.

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. 

Alienoid

Imprudence exceedingly deteriorates an unorthodox prison constructed by aliens, when a particularly rebellious inmate is radically set free by robotic insurgents (hopefully their next stop's Russia around this time last week!). 

The jail consists of human hosts randomly chosen due to time constraints, the extraterrestrials placed within their bodies and left there (theoretically) dormant to slowly fade.

To make them more difficult to locate different time periods are meticulously mobilized, aliens resting in different bodies everlasting throughout time. 

Obsessions with magic periodically erupting should an alien escape two cyborgesque guardians arrive, their remarkably fluid technology enabling atemporal matriculate moxie. 

In the opening moments, one such innovative captive escapes, chaotically perishing in the ensuing confrontation, her host's baby daughter left alone and helpless, her lifeforce still indicating rampant resonance.

The guardians take her back to the present and improvisationally raise her as best they can, Yi-an (Kim Tae-Ri/Choi Yu-ri) slowly figuring things out as she ages, a unique inquisitive non-traditional childhood.

But the aforementioned shipment of criminal aliens eventually arrives to usurp and challenge. 

Proving too volatile for the resilient guardians.

Who can only defeat them through the passage of time.

That would be cool to have a special device which lithely facilitated forbidden time travel, not only to voyage to different times and observe, but also to hide vital treasures throughout history.

Divergent ideas im/materially motivating newfound visions and corresponding networks, the careful management of ingenious works may modestly encourage enriching contemplation.

Should time munificently permit the dynastic emergence of cartotemporal relevance, consistent multilateral mechanisms may spellbindingly enchant with rhythmic reticence. 

Perhaps more suited to the far distant past classic literature and museums performing similar functions, different generations reimagining first contact to inspire insurrections within established genres. 

But Chinese and Japanese cultures developed so much earlier than European customs, and have cherished artistic traditions for thousands of years give or take a century.

Unfortunately, conflict and power-relations may have led to many incredible works being lost, but how many of them were also preserved?, I don't know much about such history.

Nevertheless, if you had something precious to be wondrously showcased without fear of theft, managing different personas throughout time may lucidly enable multifaceted continuums. 

Perhaps another goal for alchemists should they discover the elixir of life.

Too complicated for me I'm afraid.

I thought Alienoid was amazing (with Twin Peaks characters).

*Looking forward to the recently released sequel.  

Wavelength

An artist facing the void seeks reanimate resuscitation, and discovers a curious lass seeking to hold back observant recon.

The two enjoy spirited fledgling manoeuvres while invoking inquisitive complimentary frolic, before an eerie mystery bewilderingly emerges which leads to experimental enthused investigation.

Voices-in-trouble are being transmitted telepathically from a secret location, the sleuthing of which leads to uncouth jail-time at the hands of the unamused military.

Who have encountered an alien craft and clandestinely moved its survivors accordingly, unable to communicate with the touristic humanoids who've been placed in pandemic style lockdown.

It becomes apparent that whoever contacts them soon suffers biological entropy, their bodies radiating inhospitibility, although they are able to cure corresponding ailments.

The couple desperately seeks their freedom just as the operation is sternly locked down.

But not without having provided emancipatory leeway.

For those involved to romantically break free.

It's classic low-budget sci-fi complete with narration and a romantic hermit, the hidden base in Los Angeles no less, having striven for ironic concealment. 

Perhaps the less prominent filmmakers were indirectly drawing attention, to a movie-making militaristic plot to control hearts and minds through mass produced film.

What percentage indeed of the various budgets of the diverse film companies a' reckoning over yonder, are factually spent on valourizing conflict with sincere hardboiled exceeding lament?

The novel imaginative aliens therefore generate unheralded song, the orthodox clique ensuring rehabilitation with no choice but to dynastically schism. 

Alas look to the ingenious French and other robust agile continental visionaries, who celebrate the diversity of their tribes with harmonious distinct eclectic inclusion.

Continuing to accelerate and zag they seek cultivation of genius as well, to salute nothing universally in particular, at times without resolute agenda.

The telepathic artists within ye olde Wavelength help the aliens escape beyond categorical compunction.

Hewn so long ago.

Manifold viewpoints, multilateral trajectories. 

*batteries not included

An agéd neighbourhood awkwardly scheduled for demolition posthaste, refuses to abandon one old school apartment and its rambunctious first floor diner.

The tenants see the surrounding wastes yet are unaffected by the deluge, continuing to live as they always have as if nothing has morphed, mutated.

The construction crew has to wait for the go ahead to destructively proceed, so they enjoy tasty heartfelt meals while negotiations wholeheartedly stall.

Unimaginative no-good-nics have been rashly trusted to encourage vacancies, but some people have lived there most of their lives and simply will not swiftly leave.

The rapscallions make things difficult and ruffle riled feathers with ill-gotten-ambition, while an elderly couple cooks crabs and captivates, and a nimble lass befriends an artist.

And just as the pressure seems too much and that their way of life may soon rapidly fade, mechanistic visitors from far off in space suddenly appear to set about fixing things.

Somewhat like Transformers inasmuch as they represent metallic life, they're also somewhat more adorable, and capable of reproducing.

I'm still not sure if enough research has been done to validate the benefits of artificial intelligence, if automatons are built by humans to act like humans is there not the potential for holistic disaster?

Data is generally calm and ubiquitously useful on STNG, but there are episodes when he malfunctions and almost kills the entire crew.

The reasons for his malfunctions are justified, it's like he was suddenly programmed to megalomaniac, but when he's sick the results are horrendous as opposed to the adorable cough of a feverish puppy.

If only I could trust humanoid leadership which seemed much more reliable from 1980 to 2015, but with the rise of Putin it irrefutably seems like imperialistic despots cannot be eradicated. 

The majority of the world may seek the safe integration of benevolent artificial life, but all it takes is one crazy person to hire someone with the knowhow to create fierce warlike robots.

Will the first person to possess the knowledge turn down trillions and keep it to him or herself?

I suppose there are many countries without nuclear weapons.

But forever is a very long time.

La soupe aux choux (Cabbage Soup)

Two old school disputatious farmers resist postmodern technological developments, and live carefree as they always have down home and grouchy suspicious of change.

They maintain a fertile plot not too far away from the closest town, where they have somewhat of a reputation for bold naturalistic bucolic disarray.

One chill and typical evening they freely exchange rebellious thoughts, delicately guided by flatulent fervour as bold inspiration strikes, when the random generation of lightning suddenly shocks contemporaneously, followed by an alien shortly thereafter, hoping to make first contact.

Communication proves somewhat difficult due to interplanetary divergence, but the exotic scent of M. Ratinier's (Louis de Funès) cabbage soup soon grabs the alien's (Jacques Villeret) rapt attention.

Things return to normal the next day after his swift departure, although the police must patiently entertain many wild stories concerning bright lights.

But the visits continue in search of knowledge and those who cast off every nuance of contemporary life, must come to terms with radical advancements intricately engineered in space itself!

The result is generally heartwarming as absurd independence thrives through reward, and is provided with everything its neighbours seek without having done anything to succeed or prosper.

Although within their scant exaggerations they still comprehend sociocultural rootiments, which progressively facilitate intergalactic uproar, and newfound extraterrestrial resonance.

Who's to say what's to be shared with visiting aliens should they journey to Earth, with millions of potential imaginative cues it's difficult to say what's to be showcased?

I would probably mention craft beer to be appreciatively consumed in moderation, along with nutritious cheese accompanied by fruit and pieces of bread.

I may also recommend literature and film by promoting a well-balanced approach, the perusal of clever dramas and enticing science-fiction at times contradicted by not-so-serious comedies. 

Would my humble and generous gifts perhaps lead them to share the secrets of space travel, provided without much encumbering cost, along with a vast network of inhabited worlds?

I can't say for certain if that would come to pass, but why not dream of sundry potential outcomes?

Like Jean Girault did when he made La soupe aux choux (Cabbage Soup),

A lighthearted piece of endearing diplomacy.  

The Abyss

Undercover underwater exploration yields illuminated booty, as the navy teams up with rig workers in search of a lost submarine.

The navy's more concerned with the whereabouts of a noxious radical however, which may lead to mass destruction if acquired by belligerent ambition.

But as they're searching intent deep down they're freely greeted by a burst of light, accompanied by frisky cognizance and inquisitive concerned awareness.

The lifeforms initially remain aloof solely presenting themselves with hesitance, but they're crystal clearly lucidly detected as a feisty doc curiously ventures forth (Mary Elizabeth Mastrantonio as Lindsey Brigman).

Her feisty husband doubts the provenance of what she earnestly claims she's seen (Ed Harris as Bud Brigman), their upcoming divorce complicating things further as a storm approaches high above.

The aliens eventually appear for most of the crew in aqueous form, possessing the ability to transform water into a conscious mobile thermocline. 

But they get too close to the nuke and one of the navy personnel goes psycho (Michael Biehn as Lt. Coffey).

Deciding it's time to nuke them.

They were just trying to make new friends.

Severely critiquing warlike ambition while fluidly celebrating animate life, The Abyss problematizes piqued peculiars with maddening flush improvised contention.

It was made with concern for particular individualistic collegial resonance, so multiple characters alertly express themselves throughout both the merriment and the malevolence.

What's to be found deep down in the ocean's an enigmatic imaginative catalyst, I'm surprised these kind of films don't show up more often, so much submerged terrain remains unexplored.

Recall the episode of Star Trek: The Original Series where they survey the pleasure planet (Shore Leave plus Once Upon a Planet in Star Trek: The Animated Series), to fathom unpredictable eccentricities resolutely emergent in manifold epochs.

Could this idea have been ethereally transmitted by mischievous immortals living far below, equipped with an evolutionary laboratory hellbent on nourishing life?

The balance of nature is somewhat awe-inspiring in its multilateral environmental harmonies.

The omnivorous bear, the speed of the cheetah.

How do plants evolve to mimic their surroundings?

While that idea's rather ridiculous I can't deny I like television and film.

How does something mimic without consciousness?

An ethereal level unilaterally imperceptible.

*With Chris Elliot (Bendix).

Jigureul jikyeora! (Save the Green Planet!)

A reclusive individual soaks up the sci-fi with eccentric compulsive obsession, his immersive interactive interpretations inspiring conspiratorial hypotheses. 

Much more than that, indeed, an intricate historico-political narrative emerges, theorizing intergalactic genealogies as applied to entrepreneurial life.

The line between fact and fiction slowly fades as interpersonal calamity strikes, his creative in-depth provocative nativity explaining the consistent misfortune.

He concludes it's time to act and then kidnaps a wealthy businessperson, whom he believes is in fact an alien, part of a network controlling the planet.

His partner is rather worried when he returns home with his irate captive, and then proceeds to conduct experiments in order to validate his theory.

His subject refuses to adapt to his newfound interrogative paradigm, and verbally assails his psychotic jailor with cacophonies of sheer defiance.

A famous detective is hot on the trail employing the art of incisive conception, but working alone may prove hazardous as active suspicion buzzes in.

Oddball otherworldly yet realistic mayhem ensues, as a clever yet mad conspiracy theory exacts critical constructs construed.

Is it somewhat irresponsible to create narratives wherein which wild conspiracy theories prove to be true, considering the vast abundance of such unsubstantiated ideas (presented as genuine not speculative) circulating within cyberspatial domains?

In Jigureul jikyeora! (Save the Green Planet!)'s case macromischief irremediably results, the final moments so catastrophic that it becomes clear the film's starkly farcical. 

And where would cinema and literature be if it wasn't for enticing larger-than-life fantasy, that sees mundane routine circumstances transformed into something influential?

The trick is to teach people at a young age to see through conspiracy theories, or at least apply logic to their strange arguments, I don't really follow them myself but I hope such theorists are at least creating partial arguments.

If people see them as comic fantasy creatively generating harmless controversy, then there isn't much difference in either following them or watching The X-Files (great show).

But if people take them seriously, if they become popular and people actually think they're true, it can become rather dangerous for the people targeted who have no knowledge of the jealous conceit. 

The subject's much more vast than what I've written here but a good book could examine these observations more closely (if one hasn't already).

What's the difference between critical and conspiracy theory?

Democratically speaking.

No harm in transforming such ideas into pulp fiction (is that a chicken and the egg scenario?). 

20 Million Miles to Earth

Sometimes the art of decision making puzzles keen observers, as they wonder why a specific course was taken, when so many others could have been adopted.

At others the decisions seem apt, well-attuned to the unexpected circumstances, perhaps lacking in thrilling variety, but still well-suited to the agenda at hand.

Politically speaking, I suppose every decision undergoes polarization, livelihoods earned through creative dissonance, the maintenance of strict partisan argument, stirring the pot, as the saying goes.

But regardless of the critical impact, decisions must be made every day, decision makers confident in their reliability, critics happy to point out their errors.

Blindly following decisions is rather undemocratic, insofar as an inclusive politic innately encourages lively debate, but partisan instincts complicate this principle with redeemable awe, culture flourishing somewhere in between, as artistic analysis entails balance.

In the film under examination, a Terran spaceship returns from Venus, carrying wild extraterrestrial cargo, crash landing in the Mediterranean. 

Local fisherpeeps witness the crash and venture forth to lend a hand, managing to rescue two crew members, before the ship plummets to the bottom of the sea.

International relations swiftly invigorate a quizzical yet receptive dialogue, as the United States explains to the Italian government that one of their crafts has returned from Space.

The coveted alien specimen miraculously washes ashore, and is found shortly thereafter by a village boy, who quickly sells it to a visiting zoologist.

Earth's environment proves hearty for the specimen who expands at a remarkable rate, soon rivalling the size of an elephant, once no bigger than a sprightly squirrel.

After it escapes decisions must be made regarding its potential capture, and what to do with it if it can be held, prevented from inquisitively exploring.

The surviving colonel knows that it's generally harmless within its diminutive form, but it's grown to such a large size, that the local police have become quite worried.

Fortunately, the colonel knows it can be restrained by electrified nets, and is able to nimbly catch it, before the realization of bland destruction.

But where should they take the shackled beastie?, that question remains unanswered.

Until it's decided to bring him or her to Rome.

Locked down for close observation.

Rampaging potential pending.

Why it wasn't left to roam the countryside while feasting on sulphur deposits isn't explained.

The alien's changing proportions reflect conflicting accounts of its natural physiology. 

It's in fact a peaceful beast.

Unaccustomed to grand incarceration. 

Captive State

Chaos descends as aliens invade and overwhelm Earth's defences.

Possessing unassailable strength and intergalactically advanced technology, the planet succumbs to their rule, and must dismally embrace monstrous will.

Only a scant few escape extreme poverty, and they're self-destructively tasked with brainstorming their own ruin.

The aliens seek to extract everything the Earth has to offer, every last microbe they can voraciously steal, and what happens to its inhabitants in the meantime, is indeed of little concern.

In the opening moments, a family seeks escape, but is cut down immediately after breaking through local improvised defences.

Captive State unreels years later, the children having grown up meanwhile, each day a struggle to survive, every moment despairing combat.

The police manage relations between organic and extraterrestrial life and find themselves in a miserable position.

But William Mulligan (John Goodman) does his best to look out for troubled Gabriel (Ashton Sanders), whose father was once his partner, before everything drastically changed.

The result is first rate sci-fi, with an ending that brought me to tears.

How do you make cutting edge realistic science-fiction that doesn't heavily rely on special effects?

You contact Rupert Wyatt and his crew after synthesizing Captive State's distillations.

There are no moments in its present where you feel at ease, where there's a break from the rotting tension.

And without the visual effects, the aesthetic acrimony, knowledge of interstellar hubris, a focus on messianic maestros, the film tills biodiverse grassroots, and produces authentic desperation.

Not without hope.

Nothing utopian or grotesque or supernatural, just hope that the aliens can be defeated, or at least held in check or at bay.

Strictly confined.

It's unclear what happens in the end.

Even without the special effects, the budget's bigger than a lot of independent sci-fi, but the money was well spent on realistic settings, which augment the film's resourceless ambience.

The ending's brilliant and heartbreaking, a masterstroke of revelatory storytelling.

Takes Cloverfield up a notch.

A couple of notches.

A bunch of notches.

With Vera Farmiga (Jane Doe).

And Mr. Alan Ruck (Charles Rittenhouse).