The Iron Giant

A peculiar friendship develops after a boy (Eli Marienthal as Hogarth Hughes) befriends a robot (Vin Diesel as the Iron Giant), who recently crash landed in the ocean, and has been living in the forest ever since.

Somehow able to avoid detection as it feasts on discarded metallic objects, it turns out it's in fact quite gentle if approached with innocent sincerity.

Not that it's been entirely unnoticed, unsubstantiated reports of its existence confound, enough to lead the F.B.I to investigate, and even move in with 'lil Hogarth.

Fortunately, a kind-hearted artist owns a bountiful scrapyard nearby (Harry Connick Jr. as _____ McCoppin), and agrees to feed the wayward colossus as they figure out a plan.

Life proceeds as routinely as ever considering the massive robot and the police presence, traditional homely bucolic beauty radiating tranquil peaceful life.

But Hogarth starts to play with a toy gun one day which the Iron Giant perceives as a threat, immediately responding with militaristic gusto since he's been designed to fight instinctively.

The artist notices that it's entirely defensive after cataclysmic disaster is thwarted, or that the Iron Giant only transforms into an imposing war machine if it senses imminent attack.

Unfortunately, around the same time the actual military learns of its existence.

And quickly sends in the troops.

And almost nukes ye olde Maine.

Aggressive and sensitive tactical trajectories bizarrely interact throughout, as the benefits of a defensive army are oddly lauded with childlike wonder.

It used to seem like we were moving towards a world without any armies whatsoever, but recent developments have highlighted the importance of cultivating strong defensive forces.

Most unfortunate considering memories composed of prevalent peaceful politics (banal though they may be), but the world's become somewhat less rational in recent years, and a defensive army therefore seems prudent.

Naturally, the defensive army shouldn't respond instinctually as does the Iron Giant, which seems like it would have been an effective deterrent, had it not been programmed to instinctually unload.

How a robot of such advanced construction is unable to tell the difference between toy and actual weapons remains a mystery, although the fact that it certainly can't effectively critiques proponents of robotic armies.

The Terminator 2 influence is strong, although the Iron Giant's only a threat when it detects potential danger, and doesn't have a mission to save someone from another Terminator, although he does save humanity from itself.

As a paranoid trigger happy solider shoots first and asks questions later.

What a strange children's film.

Wondrously tumultuous.

*Almost threw this one away. 

Incredibles 2

A family of adorable lovingly unique superheroes flexibly recommences its eternal struggle against evil, judiciously reimagining traditional gender roles along the way, as the older kids age, and the youngest multidimensionally explodes.

In Brad Bird's Incredibles 2.

Superheroics having been outlawed, a clever plan is hatched to see them jurisprudently reevaluated.

And as Elastigirl (Holly Hunter) steps up to bravely duel the wicked Screenslaver (Bill Wise), Mr. Incredible (Craig T. Nelson) learns that raising young is quite demanding indeed.

Violet (Sarah Vowell) hopes to date schoolmate Tony Rydinger (Michael Bird) for instance, yet said love interest's amorous memories have dis/enchantingly disappeared.

Little Dash (Huck Milner) is struggling with math in school, and the methodologies once used to solve standard problems have bewilderingly mutated, or so it seems, as Mr. Incredible digs deep to decode them.

And it's discovered that baby Jack-Jack (Eli Fucile) has more gifts than the entire family combined, and doesn't know how to cautiously control them, meaning that at any moment their roof might cave in, if order is not improvisationally substantiated.

As Elastigirl (is there anyone like her in Marvel?) spontaneously adjusts to Screenslaver's mesmerizing theatrics, balance reestablishes itself on the eccentric homefront.

Yet petty grudges against superhero kind continue to frustratingly manifest themselves, and an even more diabolical plan is revealed, one so insidious it maliciously promotes fastidious spectacular ruin.

Forever and ever.

Till the end of time.

Thus, extremist uncompromising villainy once again attempts to delegitimize the genuine, fantastic forces independently existing beyond its limits fuelling it as a matter of uptight principle.

Technology is employed to overcome naturalistic endowments as entrenched ne'er-do-wells continue to malign the do-gooding.

The Incredibles just want to modestly raise a family while thwarting genius crime, that's it, and since they're in possession of what it takes to lock down the ignominiously inclined, why not enable their enviable goals, while simultaneously encouraging a healthy bourgeoisie?

A middle-class?

An everglade?

An engine?

Conan.

A long time ago, when I was obsessed with the films I had been forbidden to view in my youth, one night I saw this cool looking cartoon called The Incredibles, and I rented it, and thoroughly enjoyed watching it.

I'm therefore happy to see Incredibles 2 released so many years later, and find that it fits well with postmodern superheroism.

It distinguishes itself by realistically yet humorously introducing a relatable familial dimension, thereby functioning like a Maverick doubling down within the heavens.

Like Switzerland.

Or the Toronto Blue Jays once they start winning.

Blue Jays.

Chirp chirp.

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.

Mission: Impossible - Ghost Protocol

Can't say I've spent too much time watching the Mission: Impossible films, but as far as thrilling, accelerated, turbulent action movies go, Ghost Protocol is a success, as Ethan Hunt (Tom Cruise) improvises his way through another set of death defying circumstances, this time without the assistance of IMF.

Split-second decision making is instantaneously necessitated as plans see their counterpoints meticulously materialized through the systematic art of strategic vivisection.

Such decisions are supplied with as much logic as can be rationally fastened to their temporal limitations in order to obtain their furtive objectives.

Such logic need not be brilliantly qualified, but must possess enough cohesive extensions to readily trick its antagonists into falling for its deception.

If these extensions lose their psycho-material appeal, the related temporal limitations become increasingly restrictive.

Requiring an ass kicking.

Hunt and his innovative team still manage to move undetected from Moscow to Dubai to Mumbai with enough resources at their disposal to technologically infiltrate seemingly inextricable defensive infrastructures without being backed up by headquarters.

Agilely keeping an ace in the hole.