Barren and aimless, two mutually destructive cultures battle for supremacy on planet Annwn, consciousness prolonged indefinitely, omnipresent tactical analysis, the survivors, the residue, a permanent present reliant upon regeneration as opposed to growth to secure its objectives, goals whose rigid confines have imprisoned their masterminds in an endless cycle of repetitive monotonous decay, their citizens in a derelict jagged futureless rot whose entrails pathologically require constant immured virulence.
Bleak film, Garm Wars: The Last Druid, indirectly examining the ethnocentric politics of perpetual conquest and ruin, collegially counterbalanced, by an adventurous dreamlike team.
They head out into the forgotten wilderness, in search of truth, guided by the vestiges of spiritual purpose, embracing the enchantments of the unknown.
Their endeavours lead to some captivating scenes, where two soldiers, bred for war, struggle to define their new perspectives, blossoming in their burdens, embracing difference for the first time, articulating miraculous parlays.
Coming into being.
The film's kitschy sci-fi with a prophetic edge whose juxtaposition of technology and the environment whirlwinds cataclysmic conclusions.
An examination of nothingness, of war, like the end game of 1984.
With a badass druid.
Driven to succeed without any concept of success, a map is drawn.
Formulating plans on a need-to-know basis, they flatter a scourge, and prepare for the sequel.
Solid Lance Henriksen (Wydd).
Showing posts with label Electronic Individuality. Show all posts
Showing posts with label Electronic Individuality. Show all posts
Friday, March 27, 2015
Tuesday, March 17, 2015
Chappie
Violent aggravating hierarchical threats competitively embark in Neill Blomkamp's volatile Chappie, as a success story attempts to enhance his marketability through the creation of something beautiful, through the rearing, of robotic young.
It's not happenin'.
His child is quickly hijacked and then alternatively reared by desperate criminals intent on paying off 20 million in debt.
Instead of delicately nurturing his nascent creativity, Ninja (Ninja) prefers to ignite a trial-by-fire, consequently introducing him to a band of troubled youths, who then proceed to throw rocks at him and actually light him on fire.
The youth think he's a police robot, because his creator, Deon Wilson (Dev Patel), uploaded a humanesque consciousness into a broken down police robot, a part of a robotic police force he also created, young Chappie (Sharlto Copley), who remains unaware of these facts, and defencelessly terrified.
He does learn from his experiences though.
Which leads to a memorable science-fiction comedy.
The script's multifaceted (written by Blomkamp and Terri Tatchell), consisting of criminal and professional diversifications which populate the film with myriad characters at different socioeconomic levels, each of them given plenty of screen time to develop, as they pursue various goals before meeting for a ludicrous showdown in the end.
Solid science-fiction/action series are intertextually woven in, Robocop being the most obvious, but Chappie also acknowledges Die Hard, The Terminator, Predator, Alien, and Transcendence to name a few.
Ninja says, "Yippee ki-yay, motherfucker!," at one point.
Chappie fires at the Moose in the same way Sarah Connor fires at the T-1000 in the final moments of Terminator 2.
When the hunt is on, movements are robotically tracked as if a Predator is stalking prey.
It's co-starring Sigourney Weaver (Michelle Bradley).
And human consciousnesses are uploaded to computers like in Transcendence.
Transcendence wasn't so solid.
As Chappie comes of age in less than a week, a naive innocent caregiving sense of blossoming chaotic youth awkwardly contrasts the social horror show, the dynamics of which are simultaneously shocking and instructive.
The script has all of these elements but it still fails to impress on some fronts.
There are several characters given the chance to develop but they never really move past their first impressions, apart from Ninja, Chappie, and Yolandi (Yolandi Visser), who do change a bit.
And Deon buys a gun.
Ninja easily goes about acquiring the 20 million he needs to pay off Hippo (Brandon Auret), there's no sense that something could go wrong.
The thugs escape the police near the beginning even though it seems obvious they'll be captured.
Catch 'em. Let 'em break out. Make their escape seem plausible.
Cars are easily stolen and it seems like there's no possibility the thieves could be caught.
All this with a robotic police force patrolling the streets.
It's like hardwired explosive emancipated desperate largesse, highly structured to joyously refute the logical, with a thin layer of predictable rationality sensationally stitching things together.
It's campy.
So campy.
Sort of awful.
But still a must see.
You get the sense that there aren't a lot of public funds available to level things out a bit in Johannesburg, from Chappie.
The people on the bottom have no institutional means of moving up and earning a respectable living.
And the people on top have no means of preventing them from excelling at crime.
And are just as ruthless at pursuing their own respectable livings.
Nice to see fallible robot cops. I for one would prefer not to see robots in uniform.
It's possible that the lack of character development in the film directly relates to Blomkamp's brutal depiction of life in Johannesburg, meaning that there's only one dominating personality available, and if you don't embrace it, you won't survive.
Dog eat dog.
Unless you're brilliant like Deon.
Who ends up becoming a robot.
Because he disobeyed his weapons manufacturing boss.
Social safety net people. Public funds.
It's also possible that they partied way too hard while making this film.
Who knows!
It's not happenin'.
His child is quickly hijacked and then alternatively reared by desperate criminals intent on paying off 20 million in debt.
Instead of delicately nurturing his nascent creativity, Ninja (Ninja) prefers to ignite a trial-by-fire, consequently introducing him to a band of troubled youths, who then proceed to throw rocks at him and actually light him on fire.
The youth think he's a police robot, because his creator, Deon Wilson (Dev Patel), uploaded a humanesque consciousness into a broken down police robot, a part of a robotic police force he also created, young Chappie (Sharlto Copley), who remains unaware of these facts, and defencelessly terrified.
He does learn from his experiences though.
Which leads to a memorable science-fiction comedy.
The script's multifaceted (written by Blomkamp and Terri Tatchell), consisting of criminal and professional diversifications which populate the film with myriad characters at different socioeconomic levels, each of them given plenty of screen time to develop, as they pursue various goals before meeting for a ludicrous showdown in the end.
Solid science-fiction/action series are intertextually woven in, Robocop being the most obvious, but Chappie also acknowledges Die Hard, The Terminator, Predator, Alien, and Transcendence to name a few.
Ninja says, "Yippee ki-yay, motherfucker!," at one point.
Chappie fires at the Moose in the same way Sarah Connor fires at the T-1000 in the final moments of Terminator 2.
When the hunt is on, movements are robotically tracked as if a Predator is stalking prey.
It's co-starring Sigourney Weaver (Michelle Bradley).
And human consciousnesses are uploaded to computers like in Transcendence.
Transcendence wasn't so solid.
As Chappie comes of age in less than a week, a naive innocent caregiving sense of blossoming chaotic youth awkwardly contrasts the social horror show, the dynamics of which are simultaneously shocking and instructive.
The script has all of these elements but it still fails to impress on some fronts.
There are several characters given the chance to develop but they never really move past their first impressions, apart from Ninja, Chappie, and Yolandi (Yolandi Visser), who do change a bit.
And Deon buys a gun.
Ninja easily goes about acquiring the 20 million he needs to pay off Hippo (Brandon Auret), there's no sense that something could go wrong.
The thugs escape the police near the beginning even though it seems obvious they'll be captured.
Catch 'em. Let 'em break out. Make their escape seem plausible.
Cars are easily stolen and it seems like there's no possibility the thieves could be caught.
All this with a robotic police force patrolling the streets.
It's like hardwired explosive emancipated desperate largesse, highly structured to joyously refute the logical, with a thin layer of predictable rationality sensationally stitching things together.
It's campy.
So campy.
Sort of awful.
But still a must see.
You get the sense that there aren't a lot of public funds available to level things out a bit in Johannesburg, from Chappie.
The people on the bottom have no institutional means of moving up and earning a respectable living.
And the people on top have no means of preventing them from excelling at crime.
And are just as ruthless at pursuing their own respectable livings.
Nice to see fallible robot cops. I for one would prefer not to see robots in uniform.
It's possible that the lack of character development in the film directly relates to Blomkamp's brutal depiction of life in Johannesburg, meaning that there's only one dominating personality available, and if you don't embrace it, you won't survive.
Dog eat dog.
Unless you're brilliant like Deon.
Who ends up becoming a robot.
Because he disobeyed his weapons manufacturing boss.
Social safety net people. Public funds.
It's also possible that they partied way too hard while making this film.
Who knows!
Thursday, January 23, 2014
Her
Permissive inquisitive supple algorithms congenially contravene age-old courting rituals to ambiguously nurture an amorous electronic aesthetic in Spike Jonze's Her, wherein the app deluge is convivially levied, romanticized as a crush, and poetically prorated.
Her offered me new insights into romantic films.
It's not just that they provide heartfelt diagnoses regarding the ways in which different people express their feelings, it's that they can also take contemporary cybernetic enclosures, themselves revealing significant structural shifts in practical cultural interpersonal relations, and affectively normalize them, an extended divergent 21st century version of Data (Brent Spiner) hooking up with Tasha Yar (Denise Crosby), without utilizing monsters or excessive stubbornness, while still examining issues of be/longing and fidelity, and conscientiously theorizing about what it means to be in love.
That's totally romantic.
Simultaneously virginal and promiscuous, Her socially demonstrates the resonant festive frequency of an open-minded ceremonial cooperative, broken up into jaunty quotidian workplace conversations, support networks, and intuitive streamlines.
It asks, is it odd that Theodore Twombly (Joaquin Phoenix) doesn't let himself go, or would his life have been more fun if he had more intently, or is he right to embrace a more traditional lifestyle, preferring the contact of person-to-person multiplicities?
Thereby challenging its viewer's conceptions of in/formality.
Subjective principalities, digitized, anew.
What are those Belle & Sebastian lines from The Model, "the vision was a masterpiece of comic timing, you wouldn't laugh at all"?
They fit quite well with Her.
Although the perfect mom video game made me laugh.
Surprised Joaquin Phoenix wasn't nominated for best actor.
Her offered me new insights into romantic films.
It's not just that they provide heartfelt diagnoses regarding the ways in which different people express their feelings, it's that they can also take contemporary cybernetic enclosures, themselves revealing significant structural shifts in practical cultural interpersonal relations, and affectively normalize them, an extended divergent 21st century version of Data (Brent Spiner) hooking up with Tasha Yar (Denise Crosby), without utilizing monsters or excessive stubbornness, while still examining issues of be/longing and fidelity, and conscientiously theorizing about what it means to be in love.
That's totally romantic.
Simultaneously virginal and promiscuous, Her socially demonstrates the resonant festive frequency of an open-minded ceremonial cooperative, broken up into jaunty quotidian workplace conversations, support networks, and intuitive streamlines.
It asks, is it odd that Theodore Twombly (Joaquin Phoenix) doesn't let himself go, or would his life have been more fun if he had more intently, or is he right to embrace a more traditional lifestyle, preferring the contact of person-to-person multiplicities?
Thereby challenging its viewer's conceptions of in/formality.
Subjective principalities, digitized, anew.
What are those Belle & Sebastian lines from The Model, "the vision was a masterpiece of comic timing, you wouldn't laugh at all"?
They fit quite well with Her.
Although the perfect mom video game made me laugh.
Surprised Joaquin Phoenix wasn't nominated for best actor.
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