Bohemian Rhapsody

Struggling with upheld established traditions, a creative singer songwriter enchants serendipity.

It's not that their guidelines are obtuse or ill-defined, their associated codes and mannerisms just stress him the *&%$ out.

Even if he doesn't respond delinquently.

Not at a loss for words, he soon finds himself loquaciously disposed, and boldly makes known his desire to join a band.

They hit it off, hit the ground running, shake things up, let it all hang loose, every member contributing to their success, critical inquiries fuelling their momentum.

Cohesively.

Indeed, Bohemian Rhapsody excels at presenting Queen the band as they sternly work to synchronously perform and compose.

Focusing heavily on Freddie Mercury's (Rami Malek) life, he still isn't depicted as the band's sole driving force.

They wrote so many unique songs, songs that don't even come close to sounding like anything else, not even Bowie, some experimental bands forgetting that music needs to be appealing in some way (Bowie was very appealing), not Queen, who had a rare gift for balancing the experimental and the commercial which still influences today, let's throw in an operatic section, and later write two of the most stunning jock anthems of all time, undeniable diversity exuberantly exemplifying innovative resolve, the film suggesting it's the product of their union, and that no one ever unilaterally took control.

Mercury even critiques his solo career precisely because the studio musicians he worked with never challenged him with the same bravado he'd taken for granted in Queen (I imagine many studio musicians do challenge the artists they work with, but within the film that point helps cultivate its emphasis on unity).

While the film celebrates Mercury's strong character, the ways in which he enriched peoples lives in alternative ways to those promoted by his upbringing, which he still respected, things become very dark when he embraces his difference, as if the film is indirectly critiquing it.

Queen and his family and his eventual life partner (Aaron McCusker) and his first wife (Lucy Boynton) were no doubt essential features of his life, but I wonder if he was as lost as they grew apart as Bohemian Rhapsody suggests?

I'm not trying to say he should have partied as hard as he did, I'm not promoting wild lifelong partying, I'm just pointing out that the film becomes very dark as Mercury's alternative lifestyle becomes the focus, and I imagine he likely made many supportive friends when he came out, many of whom were likely also there to support him.

And were his bandmates as angelic as depicted within?

Outstanding musicians who redefined pop music and understood that music was their career nevertheless, Bohemian Rhapsody pays tribute to their indelible impact while celebrating loyalty and composition.

Many cool cat shots too.

Hardly anyone seems to age in the film, like pop music is a fountain of youth.

Although hairstyles and outfits do change.

X-Men: Apocalypse

Entombed omniscience, eternally incarcerated in nocturnal necromance, once unparalleled god of an ancient world, tyrannical and ostentatious in luminous immortality, guarded by 4 devoted soldiers living and dying at his command, dedicated to ruling with neither compromise nor exception, suddenly unearthed by a clandestine Egyptian cult, to demonically deconstruct the flourishing postmodern world.

Auspicious ascension.

Consummate destruction.

The world is blanketed in relative calm as those with pseudosupernatural powers and their hardworking compatriots have learned to live peaceful lives, Magneto (Michael Fassbender) even having found a day job and wife, Professor X (James McAvoy) competently facilitating education.

But the extraordinary are still plagued by bigoted misunderstandings, forced to fight to the death or perform parlour tricks, and as Apocalypse (Oscar Isaac) begins to rise he quickly finds enthusiastic neophytes.

To unleash a new world order.

The X-Men standing in his way.

X-Men: Apocalypse recasts the franchise, reintroducing favourite characters to the alternative timeline while ensuring traditional rivalries and romances ignite anew.

Too much time may have been spent exploring these traditions, Professor X and Magneto's everlasting polarity growing tiresome at points, future films perhaps expanding upon their routine dialogues, as they possibly explore alternative argumentative philosophies.

Relying heavily on what's transpired in the past, in the past, while laying the foundations to illuminate future irresistibilities, X-Men: Apocalypse isn't the best X-Men film but still delivers an exciting tale which encourages the development of its audience's better selves.

Things that initially seem strange or otherworldly can become as familiar as whatever it is you grew up thinking was natural and good, trying new things and having discussions with people from other cultures paving alternative avenues of inquiry with multidimensional crystalline curiosity.

Hopefully after last weekend's horrific tragedy in Orlando, people feel more willing to embrace less extreme world views.

You could live as long as Apocalypse and still encounter fresh perspectives to challenge your variable order of things with plump compelling intergalactic différence.

Without losing sight of where you come from.

Cross-referencing conversational data with research undertaken at your local universal library.

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.