Sen to Chihiro no kamikakushi (Spirited Away)

A traditional family moves to the countryside to embrace less hectic surroundings, the daughter noticeably upset at having left her friends behind.

Upon trying to locate their new home, they steer down a foreboding country lane, only to stop several kilometres on down, at the sign of a diminutive statue.

Uncertain of where they are, exploration seems in order, father believing they've found an (abandoned) amusement park, where they may find something to eat.

Food awaits their lavish appetites and soon mom and dad are feasting, unaware they're gorging upon meals prepared for visiting spirits.

For they have entered an alternative dimension wherein which gods and monsters composedly bathe, their bathhouse managed by a haughty witch (Suzanne Pleshette) who's none too fond of humans.

Chihiro's (Daveigh Chase) parents are transformed into pigs for supping 'pon victuals forbidden, and she's soon looking for work, as advised by the helpful Haku (Jason Marsden). 

But it's tough to settle in since she's never laboured before, and bathing a shy stink spirit proves a vast malodorous chore.

She may be able to escape and set her parents free indeed.

But not before the greedy witch has successfully decreed. 

Sen to Chihiro no kamikakushi (Spirited Away) investigates incorporeal phenomena, substantiated on their own terms, without overlooking endemic economies.

Chihiro soon learns she was wrong to critique her cozy creature comforts, as the prospect of ceaseless work suddenly materializes. Fortunately she makes friends who don't lack sympathy or compassion, and isn't strictly monitored throughout the day, has a bit of time to roam.

Ghibli Studios presents another world overflowing with narrative innovation, unexpected otherworldly creations untethered unleashed at play.

Its characteristic light heart brightly beats as the current doth flow, but it's somewhat less innocent more frightening than some of its equally wondrous contemporaries.

As genuine affection shines through and even monsters slowly relent, the strong bonds forged between workers wholeheartedly freely cement.

In practically every scene throughout the film there's something new to charmingly ponder, even if it's comically startling or slightly stressed or wild or fearful.

As if the peeps at graceful Ghibli were concerned with chill enchantments.

The spellbinding glib green light.

Ethereally expanding.

Spider-Man: Into the Spider-Verse

Alternative dimensions, co-existing in immaterial symbiosis, parallel narratives unconsciously confabulating interdimensional repartee, no first contact, no apparent links, nothing organically orchestrating symphonic resonance, yet conceptual substance fantastically resides, even though manifold possibilities disenchant synthetic theses, corresponding primordial corporealities existing in fluid gurgle, perhaps by accident, perhaps extrajudicially, although their ontological synergies suggest otherwise, as if they're ethereally co-dependent envirosketches.

They're clearly independent inasmuch as each realm reverberates with distinct novelty, complimentary orthodoxies stretched out like multilateral scripture, naturalistic pretensions conflicting in universal bewilderment, as dogmas that seem tried and true are virtually lost in emancipating infinities.

Multivariability.

Emphatically groomed.

But they're clearly dependent insofar as each distillation is characterized by the same peculiarities, compelling factors from each resembling one another, even though their matrices may be innately avant-garde, from the outside looking in, they're still inhabited by the same constituents, still constructed with the same schematics.

What incorporeally organic material binds them?

What's responsible for their biodiverse resolve?

Star Trek examines the concept from different angles, Inception taking a more introspective approach.

If people hear voices who's to say they weren't multilaterally conceived by invisible ecological beings whom they're capable of phantasmagorically translating?

As if physical constructs like iron could be spread like Nutella, as if they could see and transform matter with tectonic credulity, crafting portals out of thin air with geological finesse, like aged astronomical alchemists, intergalactically demure yet cheeky.

Vortex.

Multiple alternative dimensions wildly present themselves in Spider-Man: Into the Spider-Verse, some of them demanding their own agile features, in unacknowledged tantalizing Grindhouse.

And as one Spider-Person perishes, another must heed the call, although he's somewhat shy and  bluntly nervous, and distrusting of his coveted newfound gifts.

Spider-Peeps make for a rambunctious roll call, as diabolical technological largesse seeks to cheat mortal temporality.

Paradigms of popularity dynastically converge in the superheroic postmodern, grating the spice mélange, blending ye olde everything.

So so love film noir Spider-Man.

Plus anime Spider-Woman.

And jaded middle-aged Spider-Man.

A cool collection of Spider-People.

*Still no Mirai no Mirai.

Tomorrowland

Cloaked like a pessimistic counterproductive dagger, Tomorrowland brakes to nourishingly excel, the forces of darkness coveting rash inevitability, unforeseen factors, championing propulsive change.

Marshmallow.

A bright young girl (Britt Robertson as Casey Newton) is given the rare opportunity to interdimensionally express her points of view, but she requires the aid of a jaded visionary (George Clooney as Frank Walker) who made a mess of things hardwiring his.

A cascading proacticon (Raffey Cassidy as Athena) facilitates their endeavours, doing everything she can to make dreams live again, the sequestered realm where the gifted resuscitate having physically broken down, to the point of planetary exclusion.

A product of inbreeding.

Their leader (Hugh Laurie as Nix) suffers from bitter exposure, hopelessness, having lost the capability to separate slime from synergies.

But Casey still believes.

And her wondrous enthusiasm calls Frank to action, a towering historical flight, to breathe life into despondent degeneracy.

Pitter patter.

Liked Tomorrowland's positive message.

Encouraging for youth and adults alike, it explores the big picture from an innocent perspective which breaks through the immense complications that prevent people from thinking constructively.

Slow moving change isn't always the best option, but it enables groups to move forward collectively at a subdued yet surefire pace, that allows multiple stakeholders to make structural adjustments to various infrastructures without inciting furious passions that can be rather destructive if imposed on a mass cultural scale.

An obsession with immediate gratification can be problematic when operating in this fashion.

Patience is the productive key.

While still making sure you enjoy the weekend.

Note: the changes in Tomorrowland do require immediacy. If they didn't, it would be a rather odd mass produced science-fiction film.

Social democracy's a tough sell.