Gezora, Ganime, Kameba: Kessen! Nankai no daikaijû (Space Amoeba)

An unmanned vessel is sent into space with the inquisitive ambitions of studying Jupiter, alone and courageous it magnetically travels in resourceful steady industrious wavelengths. 

But as fate would have it, a discourteous entity serendipitously commandeers its research & development, and immediately sets course for the unsuspecting Earth where it inauspiciously lands in the Pacific Ocean.

The craft is reported as missing and daily routines mysteriously sublimate, the enervating misfortunes scientifically smothered by polemical disputes concerning the galaxy. 

Nevertheless, an observant photographer saw it awkwardly land while travelling by plane, and even though no one authenticates the sighting, he vigorously maintains his fortunate vision. 

At the same time, he's reliably hired to diligently photograph an island in the Pacific, which happens to be situated around the same place where he accidentally saw the spaceship descend.

Gregariously accompanied by an amicable team they bravely head out to the isolated wilderness, curious to meet the local inhabitants who have imaginatively lived there since the dawn of time.

They superstitiously fear a giant sea demon by the name of Gezora who lives in the depths. 

The alien entity having unwittingly assumed.

The ancient enigmatic uncompromising deity. 

Not the most well-thought out of the captivating freeform creative monster movies, Gezora, Ganime, Kameba: Kessen! Nankai no daikaijû (Space Amoeba) still startles and accentuates otherworldly absurd and ludicrous pretensions. 

A more sincere critique of the commercial desires to turn the island into a resort, would have materialized virtuous acclamations ethically attuned to Indigenous agency.

Yet perhaps it indirectly critiques commercial endeavours through its bizarre depiction of the covetous alien, who is rather diminutive globally speaking yet still seeks to effectively conquer the world.

Is that not the initial hubris of so many adventurous businesspeople, who hope their products will establish footholds in worldwide markets internationally speaking?

Starting out from humble origins they create commercials to advertise their wares, which are somewhat like the creature in Space Amoeba who effectively irritates the tenacious locals.

Ridiculous to see interplanetary ambitions maladroitly unleashed in animate obscurity. 

Endemic wildlife saving the day.

As it has throughout the millennia. 

*Criterion keyword: turtle.

Chikyû Bôeigun (The Mysterians)

A quiet town mellifluously enamoured energetically engages in festive rituals, communal friendship collectively augmenting spirited endeavours and cultivated mischief.

The lighthearted mild-mannered individuals curiously converse and dine at play, before a startling blaze is suddenly detected not far off in a nearby wood.

The radioactive nature of the fire chemically defies known scientific understanding, inherently baffling brave local residents who risk their lives to douse the flames.

But before such an occurrence can come to pass, a giant robot emerges from the Earth, and sets about destroying the town with awkward movements and delirious gusto.

The military is eventually able to thwart its destructive malevolent intent, just before its colonialist authorship tyrannically proclaims its wicked objectives.

Relying on their superior technology which destroyed their home world so long ago, they seek to establish a new base on Earth from which to spread their invasive fury.

Internationally disposed, the people of Earth courageously respond with bitter defiance.

Bombastic composure inevitably maneuvering. 

As mutually disabling conflict obliterates.

Strange how the art of diplomacy lacks effective resolve every 4 to 8 years, and bizarre developments maladroitly alter reliable seamless networks and agencies.

In The Mysterians, a constructive dialogue would have gone a long way to cultivate peace, and ensured potential harmony between the species as it was initially considered.

Would it have been that disillusioning to simply approach our planet in good faith, and congenially present their novel ideas with warm and friendly interplanetary mojo?

Alas, their characteristic machismo and absurd extremist irrational demands, lead the entire world to internationally unite and find innovative ways to outgun their technology.

Friendship could have gregariously reigned and affably brought forth mutual accommodations, as it has in most ages of prosperity as closely chronicled by observant scribes.

The Mysterians refuse to lighten up however and are therefore doomed to travel longingly through space.

Forever in search of a chaotic homeland.

Consistently silencing peaceful initiatives.  

Here

Bas Devos's Here brought back fond memories while also nurturing dreams for the future, Stefan's modest immigration experience humbly encouraging unorthodox travel.

The film follows a laidback worker who has spent some time living in Belgium, as he finishes his last shift and solemnly prepares for a month long vacation back in his homeland. 

As he walks about town casually observing things I was pleasantly reminded of life in the city, and the manifold options routinely available as you variably concoct thematic experiences. 

When he enters a restaurant for instance to get out of the pouring rain, and finds himself suddenly conversing in French with someone who speaks the language fluently.

As he tries his best to understand he knows he has to respond with something, and adamantly hopes it directly applies to the specific topic under examination.

But he gets it wrong he's misunderstood the dialogue halts it's insufficient, but he doesn't take it as a sign to stop speaking he continues onwards with verbal gusto.

By doing so, he actively demonstrates there are lots of words he can turn into sentences, and hopes his curious interlocutor instinctually respects that and keeps on talking.

In the best case scenario, they understand you're learning and that your positive attitude demonstrates you want to be there. 

If they continue the conversation using a less intricate in/formal vocabulary, it's a great opportunity for learning that can lead to chillaxed friendship (miss you).

I understood the old "fridge-clean-out" as well when you throw most of what you've got into a pot, and slowly cook it with spices and liquids until you've created something unique and edible. 

By doing so, you have several meals and fortunately nothing goes to waste, and you can share it with your friends as well as modest Stefan does in the movie.

Nature also figures prominently as he walks from place to place since his car's in the shop, the extant forest he freely travels through bringing on carefree thoughts and nascent wonder.

It's so important as cities expand and depressing sprawl creates a concrete jungle, to remember to plan intermittent green spaces throughout the urban landscape like they do in Québec.

Nice places for lunch or to spot local wildlife or even make a career studying mosses or lichen.

I'm usually careful not to disturb moss in the forest.

Although it does make a comfy place to lie down! 

*Criterion keyword: gossamer.

Peggy Sue Got Married

 With her high school reunion looming, former Prom Queen Peggy Sue (Kathleen Turner) embraces anxiety, post-graduation having not been ideal, inasmuch as her husband's (Nicolas Cage as Charlie Bodell) a cad.

But she's hoping he won't show up even if he's a local celebrity, who sells various commodities on television, somewhat profitable but also embarrassing. 

She finds a stunning dress and boldly makes a daring entrance, quickly running into cherished old friends, while avoiding questions about married life.

Yet pesky Charlie breaks his promise and suddenly appears with grandiose spectacle, old friends flocking to eagerly greet him, bucolic burnish, sedate success.

Peggy can't handle the pressure and swiftly and awkwardly passes out, only to awaken 25 years younger, having inexplicably travelled through time. 

A second chance having fortunately materialized she goes about making amends, notably with a brilliant overlooked science student (Barry Miller as Richard Norvik), and an articulate passionate artist (Kevin J. O'Connor as Michael Fitzsimmons). 

But she still can't outmaneuver her upcoming future, even if she gives her potential husband the cold shoulder, as she accidentally learns new pieces of information which startlingly tenderize his former life.

Will traditional unalterable patterns conjugally re-emerge with eternal contemporaneity? 

Or will she freely try something new?

Perhaps unprecedented amalgamations! 

Can't say I eruditely comprehend the practical realities of wedded bliss, as actively attained with vehement clarity bewildering intimate conjoined life.

When younger, it seemed like sharing my life with someone was indeed a wise path to follow, but having made it to middle age, I currently find I'm much more interested in steadfast freedoms.

Unfortunately, I was deemed misguided and too carefree for traditional alignments, generally because I wasn't prone to argument or daring extracurricular reckoning.

Thus, I was far too boring at a time when partners didn't seek reliability, but rather preferred prosaic drama and lavish spending and fierce discord.

But fret not if in a similar position of resolute tantamount stoic prudence, a day is coming when desire will wane and it will all seem somewhat ridiculous.

I imagine I'd be out the door by now if I had ever bothered anyhow.

I may have dodged a bullet.

Who knows!

Tomorrow, I'm sleeping in.

The Predator

The Predator franchise having adjourned several years past on a rather unexpected bone-trilling high note, I was quite eager to entertain its brave successor, inasmuch as it seemed reasonable that it would reach even greater heights, hope logically characterized through lighthearted thrift, the lack of prolonged accompanying anticipatory proclamations (trailers) further augmenting wondrous presumption,  I imagined it would impress, if not at least, mischievously diversify.

Yet it seems as if the new team was somewhat overwhelmed by their preceding act, and therefore sought transformative comedic consolidations, the resultant feature perhaps shocking resigned traditionalists, who no doubt stayed till the campy end regardless.

Not to say that Shane Black's unique approach lacks merit, but the Predator films do generally attempt to frighten, relying more heavily on horror than the absurd, often tending to terrify demonstrously.

Within elite commandoes find themselves replaced with a duty-free band of misfits, who have the audacity to tell jokes and exalt mischief, the rapidly paced loosely structured plot maladroitly reflecting their shenanigans, the resulting synthesis bizarrely endearing, typically tantalizing withheld revelations, bluntly shared, unabashed, tomfoolery.

It's more like a keg party than a night out at Saint-Bock, enthusiasm and excess carelessly abounding without taking much time to consider effect, mood, ambience, or likelihood.

Correspondingly, solutions readily present themselves, albeit in an inebriated way, chaotic resiliencies flying high on adrenaline, a family caught up in the jetstreamed carnage.

It's like Joes who haven't done much research suddenly find themselves experientially reaching ingenious conclusions, heavily saturated with kitschy ingenuity, as unconcerned as they are bewildered.

But even if they charmingly hypothesize, they can't outwit the film's brazen capacity.

It is fun though.

I like what they're trying to do, i.e, write a critical horror/comedy, and they mention all kinds of cool things like buses and science and global warming.

Plus it's co-starring Jake Busey (Keyes).

But the script could have perhaps used another round of edits, during which perhaps the predator dog idea would have been reimagined or left out.

A courageous attempt not lacking in ambition that still goes way too far, while mischievously diversifying no less, The Predator may have seriously impressed had it been crafted with more critical insight.

It may convince people to start thinking more seriously about climate change though.

Climate change is definitely real within.

And hopefully still will be in upcoming sequels.

*I never even listened to the Yardbirds!

Harrumph!

Monster Trucks

Prudent planning can effectively ensure that environmental economics create jobs for adventurous workers while collaboratively caring for diverse ecosystems.

The plans can't be drawn up as quickly, and the people potentially living on the sought after lands have to be consulted, compensated, but since these projects often create billions in revenue, is it really that shortsighted to spend an extra 120 million?

It's like cleaning your house.

I don't like living in filth so I regularly sweep up and do the dishes.

Doing these chores helps me to avoid illness plus I don't stain my socks just by stepping on the floor.

It's win win.

The environment's like a massive house, some would argue it's God's house, God's country, and leaving behind toxic pools and/or terrain supersaturated with oil upon which nothing can live turns that verdant mansion into a disgraceful unkempt sofa you'd find at the dump, not at the cool free section of the dump where good natured citizens drop off used furniture, the dumpy section of the dump, i.e, the dump.

It's basic health and sanitation.

Sure, profits rock, but living in harmony with nature's what profit's all about, the environment's undeniably a priceless gift that has gingerly inspired people for countless generations and recklessly compromising its ancient integrity to make a quick buck foolishly belittles the daunting majesty that illustriously defines it.

Think I'm being foolish?

Think again.

Imagine New Brunswick's population increased to 17 million.

There are around 17 million people currently living in the Netherlands according to Siri, a country similar in size to NB.

Currently, if you live in New Brunswick, it's easy to spend time alone in the countryside because there aren't that many people living there compared to Holland and space is relatively abundant.

So I'm told.

(No one has told me that).

Increase its population by 16.25 million and that abundant space becomes precious as it decreases, and sustainably maintaining what's left becomes even more intuitively paramount.

I'm sure with the additional people it would still be just as beautiful.

But that's a much larger mass to deal with.

In Chris Wedge's Monster Trucks, a new species is discovered after greedy Reece Tenneson (Rob Lowe) digs too deep in search of even more wealth.

His monstrous avarice accidentally relocates actual (loveable) monsters who live within those depths and curiously resemble giant bulbous octopi.

Fortunately, gentle yet tough young Tripp (Lucas Till), who's having difficulty getting along with step-father Rick (Sheriff Rick) (Barry Pepper) and doesn't seem to notice that Meredith (Jane Levy) likes him, finds one of the beasties and affectionately names him "Creech."

Before long, a team is assembled, including a reluctantly brave scientist (Thomas Lennon as Jim Dowd) with a guilty conscious, and they're off to save Creech and his kind from the development which would lay their subterranean realm waste.

Their quasi-exobiological ecosystem.

Don't forget Danny Glover (Mr. Weathers).

It's family fun that makes great viewing after an extended hike, or rides on the métro and bus, environmentally aware without any mercantile misgivings, in bold, it cleans up its mess, while metaphorically promoting markets for biofuels.

Mass markets for said fuels can become realities if there's enough consumer demand.

Make some environmentally friendly automobiles and trucks that cost under $30,000 and run on alternative energy sources and that demand may materialize.

It would help clean up the air we breathe.

And make a huge difference, here on homestead planet Earth.

Likely below ground as well.

Loved this film.