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.  

Kodiak Island

Lost in the isolated wilderness, a seemingly uninhabited island appears, forlorn and stern and lonesome, misty and murky yet tantalizing. 

The crew readies to disembark with loyalty and integrity refining their style, the unknown nature of their immediacy subtly galvanizing intense sacrifice. 

Shelter and food of primary concern a multivariable base camp soon established, to enable the exploration of the environment with intricate firm sure and steady observation. 

At first sight, elaborate abandonment seems to be characterizing the verdant expanse, if there had been a settlement here at one time its durable remains seem to have disintegrated. 

The first sighting of wildlife, rather large creatures harrowingly cultivating the land, although for what purpose remains a mystery as they humbly go about their business.

The general consensus is that they're guarding something far away in the embowered distance.

As fish arrive from the abundant flow.

Of nutritious heartfelt oceanic bounty. 

It's impressive to watch as the adventurous team intently explore the newfound island, their clever techniques modestly guiding novel fruition and scientific expediency.

Upon the discovery of the inhabited enclave, the resultant dialogues regarding imminent immersion, reflectively demonstrate multilateral viewpoints concerning anticipated indefatigability. 

The different attitudes were carefully crafted to forge a compelling literary argument, with open and closed minds debating how to meet the lay citizens without causing alarm or distress.

It was bright if not provocative to introduce theoretical hostilities, the realistic worries of the less warmhearted balancing the more gifted humanistic insights. 

Which makes things all the better when the land is found to be occupied by chillaxed folk. 

Who can freely teach them their local customs.

Celebration as opposed to conflict. 

Amélie

Archibald Arbuckle submarine claw viaduct visual steamwhistlin' snore, sandromeda twilight bewitching scene vestibule vocals undulant sway. 

Teacup treacolive tenement tomegrown balustrade bowtide tacklingdom come, temperament toga chaotic cluster delta dagnabbit tantamangoo. 

Circa sequester tweetabiloxi verbullroar gerber Ganymede glide, hypnotic glutton tasty torrential totoyota thermal embellishing snooze. 

Dyslexic dawdle stalagmite stoat cicada saunter frigidaire flight, golly-gee-swillikers nectarine nuptial pulsatire pinion vigilant swallow.

Sistine chapstickory aesthetic dome glimviscous glisten inherent wonder, cloverduration clavichord cloister siesta symbio solemn serene. 

Mellow elastic pulmonastery succulent brew effervescent vibe, quaker coagulate symphonic schroom compendium quota garrulous gust. 

Sandmandatorquely efficace fuel steggeysoar s'marm willow calis, thermodynamic kinetic clamber vortexpeditionary rubricon thread. 

Exseeding estuary fortress fjord incisive sound adjacent atoll, shepherd sierra itinerant chrome havenue haling butternut pita. 

Storacle shivers bucolic timbers layabout lather tachyon twig, ample acornery Stetsonar shrug salubrie schema chatterbox chest. 

Literate lynxedin boogaloo bobcat nutritious nonsense stereoscope, cathode calypso omega ontics stormy seacider zodiak zag.

Ziggaugin xylo styrofoam snick Kerouac quantum dugongshowdeal, wigwham-o'shea scintillate soma delicatessen dubonbonsai. 

Feathering flume glaceous incense journeyman Jojo Himalayan chalice, quartermast taekwon doughty Komodo meander moog hivernal dusting. 

Campy jive.

Infinite swell.

Photovoltaic. 

Helter-swelter.  

Letter Never Sent

Distinguished forests immaculate wilderness slumbering swathes imposing woodlands, resplendent rivers halcyon hilltops embowering glades diatonic dispersal. 

Freeform isolation tumultuous task domicile diligence heuristic fluoride, bushwacking burlap cartographic reconnaissance holistic haystack innate resilience.

Bucolic barnacles finagled firmament lollipop Liechtenstein verdant acuity, geologic serum prehistoric elixir Orion ointment boomshakabalm. 

Tenacious tilling strategically sewn stereoscopic symmetry curvaceous crucible, Candide cultivation meticulous mounds unfathomed furrows syntactical slash.

Sequestered sojourn juniper jaunt candlelit copperfield indelible depot, oracle sediment mineral mantra restorative roseate acrostic thimble.

Drambourine bannocturne nutrient narcolept symphonic synergy Denninger trim, wheelhouse Wittgenstein yodel-ah-hee-hoo sarcophagi spinets cymbaline circuitry. 

Ursa blanchetiquette scorpio samurai sandwishlist mincolent diatriballroom, olfactotem syndicate Mozambique mosey revolveeta varnish chauspices cloaky. 

Eureka Johansel Gretasense soulkien itinerant bold largesse luminescene, resounding detail octopi penzance reverb reaction eccentric ion. 

Fortuitous fortunes dharma Danzigzag linoleum lotion diamunchie main, cognac comptable brandywine sucre almaternal minstrel feverish flight.

Limber hike out declaration articulate response ecstatic vigorous spirits, ebullient motion certified synoptic letterhead limpid tollgate targ.

Pioneering cinematography cloistered finesse agile innovation, metaconstructs simultaneous cynosures exotic legion musketeer 'mersion.

Sublime objective narrative nestling rigorous rustle ominous ocelot, determined opus creative collateral omnibus chapters indigo moxie.

Courageous acting death-defying heights Revenant companion maneuverling magma, endless potential interminable loci circa swamp water exacting accolades. 

*Don't know when nature documentaries became popular in Soviet Russia, but the potential for animal scenes was unfortunately missed in this one. 

**Getting into water like that and remaining to shoot an intricate sequence would have been difficult.

***Iron clad stamina. 

****I've never read Wittgenstein. 

Science is Fiction: 23 Films by Jean Painlevé

Long before David Attenborough started creating amazing nature documentaries, other visionary pioneering filmmakers set the cerebral stage, some not as fascinated by the more famous untamed beasties, like Jean Painlevé and Geneviève Hamon, who explored unheralded marine life for years.

They set their sights on the limitless sea and created a series of awe-inspiring films, creatively conjured and imaginatively nuanced in this chill and humorous compilation.

Instinctively driven by the unknown creatures whose otherworldly existence salutes biodiversity, they follow the lives of some of the most unique wild animals I've ever seen.

With instructive goals in mind and a desire to encourage aquatic acclimatization, to make one think of the billions of lives which exist beneath the waves while gazing outwards.

Indeed, parts of the ocean are rather similar to the sprawling concrete labyrinths we've come to know as cities, their complex interactive interconnected citizens having steadily evolved for resonant ages. 

I don't know what the turnover rate is for squirrel families on land in local forests, but the coolest thought is that the same squirrel fams have scamperingly existed in the same local woodland for thousands of generations (especially in areas with little to no human contact). 

That's why threats to endangered species acts are so shockingly foolish and cruel, the ways in which they ignore the millions of years these creatures have matured and developed alongside us.

They deserve to be left some space to roam as they freely have since they took formal shape, who are we to mess with the existence of outstanding miracles and flourishing distinction?

Painlevé and Hamon capture such life in its multivariable enriching abundance, and like poets unconcerned with fads they tenderly present the enticing unexpected.

I find with the plethora of contemporary nature documentaries illustriously abounding with fluent synergies, many of them don't lose sight of this focus and still present newfound insects etc.

Thus, in a program at times fiercely focused on lions and cheetahs, there's a pause in the imposing narrative to examine a bug or a bird or a rodent.

Like science-fiction and fantasy nature documentaries have changed remarkably since I was a wee lad.

With thanks to filmmakers like Painlevé and Hamon.

Who thought no doubt this is cool?

Ban octopus farms! 

🐙

Planet of the Apes

Explorers sleep quietly slumber for millennia while swiftly passing through space, bravely uncertain as to where they might eventually end up, adventurous and daring, expeditionary finesse, they dream civilization incarnate, and sedately persevere. 

Crashing suddenly in a lake roughly 2,000 years after their departure, they have just enough time to escape, boldly paddling unencumbered to the surrounding desert shores, with enough food and water to last three days, and the pioneering spirit to endure and then some.

They trek for quite some time until enthusiastically finding life, a single plant unassumingly declaring the probability of others.

Vegetation is soon abundant and fresh water readily available, they soon jump in to freely bathe, before encountering a disturbance.

Their clothes are gone they wildly dash to catch the entities who stole them, only to discover a race of humans rather primitive and mute.

The humans are raiding crops but from whom remains undetermined, until furious apes lithely riding horseback appear with nets and horns and rifles.

Suddenly shocked and separated the startled travellers quickly flee, one shot in the neck with a non-life threatening wound then brought to a nearby village. 

He can't talk and he swiftly learns that on his newfound world people surge and struggle.

But there are other forms of communication.

To employ before regaining speech.

I can't discuss how this film ends because I'd rather not spoil the fun, it was one of my favourite cinematic surprises in my youth, and I'd hate to spoil the ending for others.

Not that hundreds of people will be madly rushing to see a Planet of the Apes film from 1968 anytime soon, when several new ones have recently been released, nevertheless, it's worth checking out if you haven't seen it (and somehow never heard what happens in the end).

Simultaneously, the film's far off agrarian inhospitable planet includes parts that been devastated by war, and as I've mentioned before,  after choosing this film at random one evening when I was perhaps 10, it seemed like nuclear war would no doubt be an impossibility on our world, if wiser heads historically prevailed.

Which is another reason this war in Ukraine is so horrifically devastating.

If a country's leader is threatening to use nuclear weapons, how does that leader still have a country to lead?, why hasn't he been arrested?, and why is that country still a member of the United Nations?

Baffling.

Perhaps stranger things have happened.

But certainly not within my lifetime. 

What Happened Was . . .

A date.

A get together.

Both parties unsure what to do.

It's their first romantic conversation in a while.

Good impressions sought.

Along with good food.

They both work at a law firm but aren't in possession of law degrees, their crafty assistance still essential no doubt to the smooth flowing distilled jurisprudence. 

Jackie (Karen Sillas) likes Michael's (Tom Noonan) sense of humour and the way he proceeds with a lighthearted touch, no stilted airs or predetermined fussiness generally complicating his reliable work.

She's straight up and borderline daring as she honestly shares pastimes and preferences, with little interest in codes or concealments she genuinely delivers the dependable goods.

But she simultaneously doesn't disseminate emphatic criticisms and dissonant avowals, perhaps not wishing to spoil the evening with ornery uptight imperious outbursts.

Perhaps also she's just sincerely curious and realizes you learn more by embracing interest, or at least may generate something prolonged or won't have to keep meeting new people quite so often.

He's uncertain as to how to proceed since he's suddenly encountered direct honest innocence, and isn't used to unceremoniously sharing honest thoughts and open revelations.

The suppressed yet cognizant snob deep within is overwhelmed by the freeflowing gratitude, and he begins to feel somewhat humble and suddenly re-evaluates his bold declarations.

He also starts telling the truth and feels rather embarrassed as he awkwardly does so, but she's worried she's somehow upset him, he's somewhat blind to the catch he's found.

What Happened Was . . . thoughtfully examines insecurity as it engages in unscripted exploration, suddenly abounding with practical material to realistically characterize imaginative fluctuations.

They're both unprepared for reality but she's a little more willing to experiment.

A perfect film if you're worried about dating.

Or would perhaps rather never abandon the single life. 

Black Moon

If you're wondering how old school independent filmmakers used to envision alternative realities without computerized special effects, Louis Malle's Black Moon is a stunning working example.

Unless you want something lighter.

Cherished freedoms have been ravaged by fanatical elements violently spreading wanton destruction, as a terrified individual drives through the countryside intent on discovering sanctuary.

(I do not mean that the quarantine is something negative that is taking away freedoms. People are fighting a war in Black Moon. The quarantine is necessary to stop the spread of a virus that is killing thousands around the world. It's hard to spend so much time at home, but by staying at home you're saving lives).

To avoid the rage of trigger happy goons, she quickly swerves off the road, emerging in cloistered environs, fully-equipped with a grouchy unicorn.

Things seem real enough, or as if reality is traditionally composed, but as she spends more time freely exploring, things become more and more wild and creepy.

It's as if her perceptual awareness is attuned to the wrong potent frequency, unaccustomed to bizarro differences, which the residents clearly perceive.

She reacts with energetic confusion as she attempts to reasonably comprehend, acclimatizing to non-verbal communications, learning to speak with animals.

Perhaps Louis Malle rather disliked Disney's Alice in Wonderland, for Black Moon lacks its childish wonder, or at least depicts it somewhat obtusely, like it's been left outside in the cold.

Then again, perhaps Disney's Alice was frightening to many of the children who saw it, it does abound with inherent conflict, and phantasmagoric foundations.

From my middle-aged 21st century perspective, I don't find Black Moon that frightening, or at least not as haunting as Audition or Midsommar, it's not as intent on terrifying.

But if I had been raised in the fifties it may have indeed promoted despair, as Lily (Cathryn Harrison) encounters baleful beasties, and embraces disorientation.

I'm not sure if it should be classified as horror although the designation could snuggly fit, but it's perhaps beyond classification, as it transforms every time you view it.

It certainly lacks romance, or isn't enchantingly disposed, intertextual bedtime bedlam, like a fable without moral or lesson.

It tells its tale without ornate orchestration, without much statistical entitlements, creating unique innovations thereby, that leave a lasting impact.

With no concern for uplifting spirits, apart from an ethereal classical soirée, it by no means seeks happy endings, and seems to absurdly inter them.

Perfect for Halloween.

For considerations of low budget sci-fi.

Unorthodox strange elementals.

Acts of inspired independence.

Napszállta (Sunset)

Dreamlike exploration observing radical tradition, patient determined movements discovering reticent clues, modest celebrity cultivating passage instinctual grace establishing ties, temperate precipitation intuitively encompassed, like Napszállta (Sunset)'s surreal backgammon, and curious Írisz Leiter (Juli Jakab) keeps rolling double sixes.

She would have been an heir to the Austro-Hungarian Empire's most prestigious millinery shop if grand misfortune hadn't necessitated alternative fortunes.

The new owner still supplies elegant hats to fashionable royals, and one of his resident artists will perhaps serve at court one day.

But it's not that simple, not quite so clear cut, so homely.

It's a different time, just before the outbreak of World War I, and the aristocracy and the people are expressing themselves confrontationally, neither group willing to accept the other's terms, destructive conflicts having arisen consequently.

The film and myriad other sources truthfully suggest the upper crust was none too kind to its workers of the day, and the people had no means to hold them to account.

Írisz's brother, in hiding and displeased with the corruption, has abandoned peaceful methods of persuasion; she's caught between his anger and the traditions of her artistic heritage.

She's just moved to Budapest and doesn't understand what's happening, wandering somnambulistically between the two parties, accessing highly secretive and exclusive realms without censure, maladroitly assured that peace is ecumenical.

Even though her family was well thought of, and her name is widely known and respected, it's still quite improbable that she would be able to proceed so freely, to go wherever she wants at whatever time.

Thus the dreamlike qualities of the narrative, the intense nightmarish revelations accentuated by obsessive close-ups.

Napszállta's more like grim realistic fantasy than lively magical realism, its chaotic combative testaments composed in dismal haunting fairy tale.

Mátyás Erdély's cinematography creates sombre phantasmagorical confusion that asymptotically incarnates horror, thereby reflecting the terrifying nature of the times, wherein which nothing seems concrete or stable.

But it's still loosely grounded inasmuch as you know where you are and what's transpiring, or at least know as much as Írisz, who knows close to nothing at all.

The total absence of concerned mediators intensifies the conscious anarchy, as does the lack of conversation or explanation, as if a child's on its own for the first time, lost and leading in Twin Peaks's Black Lodge.

Napszállta's bewildered sincerity magnetically draws you in, substituting nausea for lucidity with morose desperate conjecture.

The effect is nauseating at times so it's difficult to take the whole way through, but that doesn't mean its aesthetic isn't uniform, nor its ambivalence, inarticulate.

Bold filmmaking.

Grizzly style.

Jungle

Youthful exuberance, boldly challenging parts unknown, randomly embracing inquisitive camaraderie, a team assembled improvisationally adventuring, a lack of knowledge fuelling information hunger, a gluttonous immersion abstemiously characterized poetically generating conflicting points of view, holistic hostilities hierarchically hashed, minuscule manoeuvres incremental thresh, torn and frayed lost their way repartee coruscate, tenacious agility expressly trudging, environmental appreciation enlightening unawares, a man, a tool, moonlight gruel, irrepressible spirit, suddenly alone in the jungle.

Yossi Ghinsberg (Daniel Radcliffe) keeps going.

His pack breaks up and his partner disappears but he pushes onwards notwithstanding unforbidden, cavalier.

There's character, vision, perseverance, alarm.

Jungle interpersonally examines trial by audacity as 3 rugged romantics with sketch accompaniment dare endurance and improbability to vehemently and disdainfully scorn.

A true story which cruelly tests resiliency as dynamic friendships exhilarate, I was surprised that it captured my attention so completely even though it focused intently on only one character for so long.

When it seems as if the elements have pushed him far past loveable psychosis, the spiritual artistically intervenes, radiantly illuminated in emancipatory contrast.

Cool survival flick.

Alien: Covenant

An unexpected burst of flame urgently awakes a slumbering crew deep in space as their ship briskly travels towards an unknown far distant range.

Upon beginning their repairs, a beacon is detected on a nearby planet, the tantalizing nature of which leads their new captain to decide to investigate, the sage protests of his first mate notwithstanding.

Almost immediately after their arrival, a deadly spore which transmits a misty biological shiver into unsuspecting individuals (the colonization of the colonizers) infects two oblivious crew members, and as the organism gestates within them, their colleagues withstand plied mortal shocks.

Then as night falls and things seem extraordinarily bleak, a lone warrior appears in the wilderness.

Possessing knowledge, courage, agility, sanctuary, and fire power, he gracefully leads them to his haunting abode.

But does he plan to aid or sabotage their escape, and will his startled reflection acquiesce to his cold independence?

Lost and alone on an ancient world.

Intrinsically dependent.

Savagely skewed.

Alien: Covenant introduces acidic tyranny to the age of the superhero by blending the scientific with the biblical to castigate übermensch.

Taking technological insubordination to extremely sadistic levels, it intellectually yet spine-tinglingly reverberates by harrowingly theorizing creation.

Antiquation.

Devastation.

A solidly monstrous addition to the Alienverse, with an ending as cataclysmic as the direst recalcitrant lamentations, Alien: Covenant questions the elevation of artificial intelligence while agnosticating those who play god.

Attaching characteristic struggle to the exhilaration of adventure, it cynically yet resourcefully challenges to temper omniscient existence.

And dreams.

The Lost City of Z

Driven by an irrepressible desire to advance and succeed, willing to assiduously acclimatize himself to arduous extremities, without uttering a single dismissive word of protest, the bold Percival Fawcett (Charlie Hunnam) sets out to map disputed South American realms, and learns of an ancient legend after earnestly departing down river.

The pursuit of that legend leads him to boisterously challenge the racial preconceptions of Britain's Royal Geographical Society after he achieves fame for his rigour and accolades for his gall.

Controversies cloud his subsequent expedition however as a colleague of a higher social rank (Angus Macfadyen as James Murray) signs up and cannot handle the hardships of the exploratory life.

After Fawcett judiciously grants him reprieve, he still slanders his reputation upon returning home.

Yet his resolve remains unencumbered (even during World War I) and his humble determination wins him the loyalty of his fellow explorers as well as that of local aboriginal tribes.

The long periods of time he spends away from his family leave them aggrieved nevertheless.

Atonements must be paid for cold sacrifices made.

James Gray's The Lost City of Z presents an adventurous life lived in nimble haunting miniature.

I've often written that biographical films such as Z proceed too quickly and only offer a scant realization of the subject of inquiry's remarkably inspiring accomplishments.

Yet Z has found a compelling balance between the burst and the burnish which cleverly captivates without seeming superficial or insufficient.

It isn't a poppy light conglomeration of exceptional details but rather a profound accumulation of brave characteristics which classically define an intrepid life.

Born to quest, and ruggedly equipped with the constitution to do so, Fawcett stoically sought the supposedly sensational in order to encyclopedically romance.

I imagine, as the internet mutates, hundreds of years from now cyberspatial explorers will pursue similar objectives by searching online for that which previous civilizations considered noteworthy.

The macroscopic transforms ultramicro.

The evolution of adventuring.

Piquant periodic paradigms.

Solid career move Robert Pattinson.

Prometheus

And a group of scientific diplomats and their escort departs on a trillion dollar mission financed by Weyland Corporation towards a planetary alignment discovered by a team of archaeologists upon several ancient culturally isolated works of art.

In search of those who brought life to their home world.

But their investigative proclivities awake volcanic slumbering behemoths whom are intent upon annihilating their planet.

Which has functioned as their laboratory for millennia.

In the end, only a devoted non-denominational Christian (whose faith still burns) who at one point initiates a self-inflicted abortion and a brilliant amoral android who was responsible for infecting her husband with the fertile extraterrestrial virus, remain.

Still determined to make contact.

Still driven, to carry on.

Ridley Scott's Prometheus has its moments but on the whole functions like an amorphous geyser, patiently stratifying different levels of neuroses before startlingly expelling their searing undulations.

Several approaches to handling the unknown are precipitated, each exemplifying differing degrees of prohibition.        

Thereby carnally creating within a paranoid social constellation.

And intergalactically quarantining exploratory consonance.