It has been a very long time since I have gone out to see a new movie. in some ways this is not extraordinary in itself. But in others very much a statement of my core disenchantment with the current mentality of Hollywood that has shifted their mission from escapist entertainment directly into the realm of politics through cinematic artifice. Often becoming more that a less than subtle form of popular brainwashing. That alone has made my former pastime of watching a new film an loathsome exercise in sorting out banalities of purloined plot devices rehashed into sequel based pomposities over-layered by mind numbing visuals complimented by overbearing overly dramatic audio ‘klang‘. Going into modern multiplex auditoriums defaulted to real time mental detoxification during commercial messages sponsoring the hall through to the roll of final credits. I have come to favor certain measures for self-defense such as closing my eyes and analyzing sounds and positions on the 5 to 1 audio. But that of course leaves me open the possible devastation by main feature of my inner political fabric. Being of the now popularly despised class of ‘old white male‘ as irredeemable useless wino’s that all the dark powers of the media seem allied to demote and destroy, I know which side of the toast my own interests receive the ‘butter’. Given the everyday plot standard of the young white spoiled underachieving middle class girl as ultimate hero, I surrender all hope as I enter the auditorium to see the Sci-fi franchise that mightily launched that heresy and meet its make, Ridley Scott.
If power corrupts then the power of being a singular director whose films collectively gross big corrupts absolutely. It would of course be foolish to suppose that all within this universe answer to a much whispered but decidedly anonymous deity. But that is something that within the larger international film community is not acknowledged on pain of instant oblivion not unlike being chucked out of an airlock in deep space never to be seen or heard from again. Ridley Scott and his late brother Tony, made their bones with well-metered sophisticated plots and productions that in the former sense of same suggested that well-used gambit of suggesting some great unsolvable philosophical dilemma that the audience is invariably power with in the last moments of the film’s final conclusion. Though his late brother Tony generally stayed back on ‘terra firma‘, Ridley Scott continuously mentoring generations of would be scholars of cinematic borne epistemology with an unanswerable question of ‘what if‘ then answering it within the context of the next sequel with the negative least desirable conclusion as to the final disposition of his starring avatar. If you consider that most of his popular hero’s have been heroines it doesn’t suggest a very positive attitude about women and their inbred quirks by him? Each of his films seem to be generously funded by the standards of the era and the content of each production being under his absolute direct control. Nothing in his films cannot be accused of being accidental or unintentionally bungled by virtue of lack of funding by the conglomerates who fund them. What you get is a treatise for those that feel themselves sufficiently erudite and vague uneasy assent for the rest of us popcorn cruncher’s. So what indeed does one find with the inference of the latest chapter of his ongoing masterwork plotting ‘Gotterdammerung‘ in the twilight of the gods?
Let us start with the most favorite topic of all Jewish movie producers on this planet, the well-traveled perpetual animus towards 20th century Germany in all her transformations. Now of course this inbred genetic antagonism extended to anything descended from the Christian breeding Indo-European stock. Consider that his loathsome competitor, Ingmar Bergman, made more lastingly unsettling movies on much smaller budgets all without those monumental spectacular explosions and the insipid vertigo of roller coaster CGI effects, one might consider Ridley philosophically ersatz. But that would automatically preclude the viewer from what is usually an exquisitely handcrafted work of perfectly ambled cinematic art. Something only less than a handful of other directorial genius’s are well-connected enough to pull off. The message therefore is generally more vague and haunting rather than purposely explicit. Compare the storytelling of the very popular James Cameron that steams ahead hitting the icebergs perfectly on cue while expertly tugging at the emotions in every possible way. Ridley Scott has to have a pretext lurking about in semi-obscurity down darkened corridors where other directors merely need a well-lit backdrop to launch their characters into action. The ghostly ‘ubermenschen‘ of Nietsche are finally revealed and destroyed by the genetically superior mechanical outsider evidencing the threat of one’s servant beaching their worst enemy through the usual Shakespearean conduit of unexpected betrayal. Where the monsters of old from Scott the director’s stilted universe engage in hellish assimilation genetically overwhelming all the players pitting themselves against their next best worse self, he saves the last best tidbit for special consideration. The de-evolved species known as modern woman which is not longer capable of giving birth in a normal sense of producing a family or the continued procreation of her own species beam part of a social experiment that only a Malthus could love. The perfect heroine no longer a Valkyrie come down from the heavens to conduct fallen warriors from their expended bravery upon the battlefield but an equally soulless and sterile in a humanitarian sense as her monstrous opponents. Something functionally indifferent and useless to her own species.
The plot of the latest tale less than sings as it plods through fuck-up after fuck-up that any pre-adolescent newly introduced to, “Call of Duty“, would be unlikely to fall victim to. Since everything upon the table presented has the inference of some higher purpose in the suggestion of a tapestry of ideas in the ‘great master’s mind, one can only infer that the ship’s crew are as a foil for most of regular humanity are simply that. Brainless morons that couldn’t save themselves from having their I-Phone heisted within ten minutes of being upon a ghetto street! The only saving grace from serial yawning in the dark being the timing and savagery of very violently pornographic imagery. Inside torn out, severed heads floating dull eyed in ponds and an occasional expose ‘mons Venus‘ tickled before its own is impaled. Such is the virtual satisfaction that the crowd within the mental amphitheater of this cinematic Coliseum is enjoined to savor. All this while the sneaking little synthetic human ‘doppelganger‘ recites some juvenile recitation of best music hall hits of the late nineteenth and early twentieth centuries. The James Bond franchise was more adept and purposefully crass at this vaudeville staged art form. Of course here in Ridley-land one is to be subject to scorn of possible snickers if they do not see some deeper unexplored hidden universal meaning! All the while the heavy handed plot bombs that were originally buried like nuts for the winter by demented squirrels are pulled out the usual dusty old Hollywood hat of three act, two plot point transition, surprise them in the end with the big twist at the conclusion story finale. Ho hum! So what if the bad robot winds? So what if the analogy is directly attributable to the wet dreams and supposed hopes for an elitist Utopia by the film’s major financiers? So what if the ultimate story can intimate the obvious conclusion of this current society that is now out of balance descending into a final fatal dystopia? Or Not! The core issue in my mind is GODDAMMIT! Am I going to being entertained, or not???????
Stay tuned for the next seven years for the next sequel when you will ultimately learn what happened in these regard for the next installment of “Alien Something Or Another!“