CYBERMANCER:

battling to preserve a vital humanity

in the neo eon of computer generated imagery

in the twilit and allegorical film art

of Neill Blomkamp

by Gary W. Wright

        Like most fiction and film artists of the dread allegorical Zone Wars, the South African born and raised and Vancouver residing Neill Blomkamp was haunted by the helicopter crash that killed actor/director/writer Vic Morrow and illegally hired and used child extras Renee Chen and Myca Le in the early morning hours of July 23, 1982 on the George Folsey jr. produced John Landis set of the twilit, allegorical, Kathleen Kennedy associate produced, Frank Marshall produced, and Landis and Steven Spielberg executive produced Landis, Spielberg, Joe Dante and George Miller docufeature film TWILIGHT ZONE: THE MOVIE [1983].  And like many film artists of the post-TZ disaster era, Blomkamp was implicitly ambivalent about the use of computer generated imagery [CGI] to enhance film art and prevent future film set disasters, an implicit ambivalence on display when he donned the co-writer/director hats and teamed up with executive producer Sir Peter Jackson to create the twilit, allegorical, CGI enhanced and Ozian themed indie docufeature film DISTRICT 9 [2009], released on August 13, 2009.

“Uncle Wikus is flying now,

all right?”

        Curiously, the film was a pseudo-documentary set in Johannesburg, South Africa in 2010 and shot on the cheap with hand held digital cameras, a cheap approach in ironic contrast to the film’s assured and confident style that came across as that of a more experienced film artist rather than a first time film artist and the film’s expensive CGI enhancement, complete with commentary from the implicitly Sigourney Weaver linked South African sociologist Sarah Livingstone-played by Nathalie Boltt-and the implicitly William “Cyberpunk” Gibson linked engineer Francois Moraneau-played by Nick Blake.  An ironic pseudo-documentary that quickly introduced audiences to the friendly, smiling, moustached, “Uncle” Walt Disney resembling and implicitly linked and also implicitly Tin Man linked “Uncle” Wikus van de Merwe-played by Sharlto Copley-an employee of the South African division of the implicitly Walt Disney Company [WDC] linked global arms maker Multi-National United [MNU].  Indeed, the fact that the implicitly WDC CEO Robert “Bob” Iger linked Dirk Michaels-played by William A. Young-was the CEO of MNU, and that the South African division of MNU was headed by van de Merwe’s equally genial but callous father-in-law, the Michael Eisner resembling and implicitly linked and also implicitly Wicked Witch of the West linked Piet Smit-played by Louis Minaar-affirmed the implicit link of MNU to the WDC, while the film’s allusions to the allegorical Victor Fleming film THE WIZARD OF OZ [1939] affirmed the film’s implicit Ozian theme.

        Significantly, we linked up with van de Merwe just in time to join him on a tragicomic expedition.  For twenty-seven years earlier, a huge alien mothership full of sick and starving CGI extraterrestrials had arrived over Jo’burg one fateful day in early June of 1982 shortly before the TZ disaster.  Soon after their arrival, the sickly aliens were shuttled from the mothership by helicopter to a literal and Disneyland and Hollywood cadenced alien refugee camp outside Jo’burg called District 9 in early July of ’82, a date that linked the CGI ETs-nicknamed “prawns” due to their resemblance to bipedal prawns-to the month of the equally fateful and fatal TZ disaster and reminding us that CGI had been developed and perfected after that disaster in order to prevent future fatal disasters on film sets by pulling off dangerous and explosion filled sequences, particularly those involving helicopters, with CGI.  After causing too much trouble at District 9, a decision was made to move the cat food luvin’ CGI prawns to a new camp called Sanctuary Park aka District 10 200 km away from Jo’burg, a move that was conducted by the South African division of MNU and overseen by the genial and smiling “Uncle” Wikus.

        Significantly, all went well for the CGI prawn relocation until van de Merwe accidentally sprayed himself in the face with some prawn deodorant while searching a prawn shack in District 9 for weapons, evoking the sight and sound of Kane-played by John Hurt-having a facehugger attach itself to his face and neck in the eerily and presciently twilit, allegorical, CGI enhanced and Ozian themed Sir Ridley Scott indie docufeature artbuster ALIEN [1979].  Alas, at this point, to the saddened and horrified dismay of family and friends including the W.P. Kinsella resembling and implicitly linked fellow MNU employee Anton Grobler-played by Melt Sieberhagen-and van de Merwe’s Ted Kotcheff resembling and implicitly linked father Nicolas van de Merwe-played by Johan van Schoor-van de Merwe slowly and surely transformed into an all CGI prawn, in the end, a moving and memorable transformation that started with his sinister left hand and that was as memorable and moving as the transformation of the vainglorious and implicitly Spielberg linked rogue scientist Seth Brundle-played by Jeff Goldblum-into a flyman over the course of the twilit, allegorical and implicitly Spielberg roasting David Cronenberg indie docufeature film THE FLY [1986].  Curiously, this sad and nightmarish transformation was also watched with the callous, detached, fascinated and mercenary interest of the implicitly James Cameron linked MNU doctor-played by Jonathan Taylor-an implicit interest in Cameron affirmed by the film’s allusions to the ragingly twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas roasting and David Lynch addressing Cameron indie docufeature Zonebuster THE TERMINATOR [1984], the equally ragingly twilit, allegorical, CGI enhanced, Ozian themed and implicitly Dante and Spielberg roasting Cameron indie docufeature Zonebuster ALIENS [1986], the also ragingly twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lynch roasting Cameron indie docufeature Zonebuster TERMINATOR 2: JUDGMENT DAY [1991], and the film’s allusions to an equally moving but more upbeat transformation into an all CGI Nav’i at the end of the daylit, allegorical, CGI enhanced, Ozian themed and implicitly George Lucas and Martin Scorsese roasting Cameron indie animaction Zonebuster AVATAR [2009].

Curiously, before he fully transformed into a prawn, van de Merwe managed to climb into and use an armoured prawn CGI battle suit that evoked the armoured super suit worn by the brash, brilliant, cocky, confident, handsome, womanizing, imperfect, likably unlikable and implicitly Jason Reitman linked Anthony “Tony” Stark aka “Iron Man”-played by Robert Downey jr.-in the Marvel Cinematic Universe [MCU] films, a series of films overseen by Disney after they purchased Marvel in 2009, the year of the release of DISTRICT 9, reaffirming the film’s implicit interest in Disney.  Just as curiously, van de Merwe used the CGI battle suit to desperately fight off the tough and tenacious MNU commandos led by the implicitly Nikko linked Colonel Koobus Venter-played by David James-and the equally tough and tenacious Nigerian gang members led by the implicitly Lynch linked Obesandjo-played by Eugene E. Khumbanyiwa-that were trying to kill him in running battles that evoked the running battles between American soldiers and Somalian militia men throughout the twilit, allegorical, CGI enhanced and Ozian themed Sir Scott indie docufeature artbuster BLACK HAWK DOWN [2001] to reaffirm the film’s implicit interest in Sir Scott. 

Significantly, triumphing in these battles allowed van de Merwe to give the friendly prawn “Christopher Johnson”-played by Jason Cope, who also played the possibly Sir Scott linked UKNR Chief Correspondent Grey Bradnam-he had befriended a chance to escape with his son to the huge mother ship still parked motionless over Jo’burg, start it up and return to their homeworld like E.T. at the end of the eerily and presciently twilit, allegorical and CGI enhanced Spielberg docufeature film E.T., THE EXTRATERESSTRIAL [1982].  Alas for the distraught and doomed van de Merwe, Johnson and son took their ability to halt his transformation and return his vital humanity to him with them, causing van de Merwe to fully transform into a prawn and disconsolately craft flowers out of garbage to leave outside the house he once shared with his beautiful, blonde, sweet, luvly and implicitly Hollywood and Dorothy linked wife Tania van de Merwe-played by Vanessa Haywood-in the end.  Thus, given the implicit link of van de Merwe to Disney, Blomkamp and Sir Jackson implied that Disney’s decision to switch from hand animated films in favour of all CGI films had caused its film art to lose its imperfect and infallible but endearing, enduring and vital humanity as surely as van de Merwe lost equally imperfect and fallible but endearing, enduring and vital humanity over the course of DISTRICT 9.

At any rate, it was fitting that Moraneau was implicitly linked to Gibson, an expatriate who lived in Vancouver like Blomkamp, in DISTRICT 9, for as early as 1981, the last good year of film, Gibson accurately predicted in his literary art that the arrival of the binary and digital computer world would create three types of people: the men and women who created and understood the hardware and software of the neo computer enhanced world, or understood what could be done with that hardware and software, and who would become the most successful and wealthy members of the neo upper class of the “cybernetic” eon; the men and women who understood how computers and their office suite software and other digital gadgets like inventory wands could aid their businesses and the adult and teenage employees who could be trained to use and repair them who would become the neo middle class; and the men and women who did not understand or were philosophically opposed to the neo cybernetic eon who would become the poor neo lower class.  Curiously, Gibson also accurately predicted in his cyberpunk literary art that all three of these neo-cybernetic socioeconomic classes would turn to drug use, so that the neo-upper class could briefly escape the stress, embarrassment and even guilt of success, the neo-lower class could briefly escape the stress, embarrassment and even guilt of failure or of refusal to join the neo world order, and the neo-middle class could briefly escape the stress of being stuck between the neo-upper and lower classes.  A neo cybernetic eon with three neo socioeconomic classes that appeared in DISTRICT 9 and that reappeared when Blomkamp donned the writer/director/co-producer hats and teamed up again with Copley, Brandon Auret-who played an MNU commando in DISTRICT 9-Julian Clarke, Philip Ivey, and Trent Opaloch-editor, production designer and director of photography [DOP], respectively, for DISTRICT 9-and Sony and Tristar-distributors of DISTRICT 9-to rage against the corporate machine again in the twilit, allegorical, CGI enhanced and Ozian themed indie docufeature film ELYSIUM [2013], a film released on August 7, 2013 that was fittingly, given the nods to Gibson in DISTRICT 9, inspired by the presciently twilit, allegorical and CGI enhanced Gibson indie tech noir short story “Johnny Mnemonic” [1981] and the film inspired by “Johnny Mnemonic”, the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Stanely Kubrick toasting Robert Longo indie docufeature film JOHNNY MNEMONIC [1995]

“They can fix this shit on Elysium,

man.”

Curiously, the film revolved around the implicitly Gary W. Wright and Tin Man linked Armadyne Carlyle robocop factory assembler named “Mad” Max Da Costa aka Employee 6722-6722 reminding us that I was born in ’67, and played as a boy by Maxwell P. Cotton and Matt Damon as a young adult, respectively-a member of the poor neo lower class whose job and shaven head evoked the equally bald robocop assembly worker THX 1138-played by Lawrence Duvall-in the eerily and presciently twilit, allegorical and implicitly Stanley Kubrick roasting George Lucas indie docufeature film THX 1138 [1971], a film also alluded to in DISTRICT 9.  Significantly, Da Costa lived in a callous, cynical, polluted and rundown future Earth where the neo poor were trapped in ramshackle slums on the planet like the one Da Costa lived in in Los Angeles 2154 and the neo wealthy lived in a heavenly paradise where no one got sick or grew old called Elysium, which was a circular, ringed and spinning “torus” satellite with central spokes shaped like a star and with a pristine and ancient Earth-like world hidden within the inner side of the ring that evoked the spinning satellite in the allegorical and Ozian themed Kubrick indie docufeature artbuster 2001: A SPACE ODYSSEY [1968] and the equally fecund Ringworld in the allegorical Larry Niven indie docufiction novel Ringworld [1970].  This satellite utopia that floated faintly in the sky above the slums of Earth like the alien mothership floated over the slums and nice neighbourhoods of Johannesburg in DISTRICT 9 to affirm its alienated nature was presided over by President Patel-played by Faran Tahir, who, fittingly, given the implicit interest in the Walt Disney Company in DISTRICT 9 and given that Disney bought Marvel in 2009, played the Evil and implicitly Lucas and Nikko linked terrorist leader Raza in the daylit, allegorical, CGI enhanced, Ozian themed and implicitly Diablo Cody and Jason Reitman toasting and Lucas and Irvin Kershner roasting Marvel and Jon Favreau indie super satirical animaction film IRON MAN [2008], evoking the Iron Man super suit evoking armoured prawn CGI battle suit that van de Merwe used to fight off the MNU commandos at the end of DISTRICT 9-and conspired against by the short, steely, blonde and implicitly Wicked Witch of the West linked Defense Secretary Jessica Delacourt-played by Jodie Foster. 

Just as curiously, after an accident at the robocop factory left him dying of radiation poisoning and with only five days to live, a moving sight and sound that evoked the equally moving sight and sound of van de Merwe transforming into a prawn in DISTRICT 9, Da Costa spent the rest of the film battling the Evil, bearded and implicitly Landis and Nikko linked indie Elysium Agent 32 Alpha M. Kruger-played by Copley-in a desperate struggle to get to the Elysium satellite so as to be cured of his radiation sickness.  Significantly, Da Costa’s final days were helped along by an exo-skeleton that was grafted onto him by the rebel and possibly Kubrick linked L.A. hacker gang leader Spider-his name evoking the equally techno savvy Spider played by Henry Rollins in JOHNNY MNEMONIC, and played by Wagner Moura-that affirmed his implicit link to the Tin Man and that evoked the armoured prawn CGI battle suit used by van de Merwe to fight off the MNU commandos at the end of DISTRICT 9.  Significantly, while he made it up to Elysium where he defeated and terminated Kruger, Da Costa died before he could be cured of his radiation sickness, but not before he and Spider managed to download a cache of data in his head that was uploaded from the brain of the implicitly Elon Musk and Great Oz linked Armadyne Carlyle CEO John Carlyle-played by William Fichtner-and that rebooted the Elysium computer network and made all of the citizens of Earth regardless of their income level full citizens of Elysium and thus eligible for medical treatment on the satellite heaven, including the implicitly Dorothy linked Matilda-played by Emma Tremblay-daughter of Da Costa’s sweetie, the implicitly Glinda linked Frey-played by Alice Braga-an ending that evoked the similar end of JOHNNY MNEMONIC. 

Thus, given that Da Costa died after his victory over the cruel Kruger and his successful download of his brain cache that made all citizens of Earth citizens of Elysium, Blomkamp implied his hope that Wright’s site www.zonewarsonfilm.com would defeat Landis and enlighten the people of Earth, and that all promising film artists should be supported by Hollywood not just big names like Cameron and Lucas who attracted the big bucks to create huge films that were as CGI enhanced and realized as the Elysium satellite, an implicit allegorical intent affirmed by allusions to the JOHNNY MNEMONIC, STAR WARS Classic and Tragic Trilogies, THX 1138 and 2001: A SPACE ODYSSEY.  Indeed, the fact that Da Costa’s L.A. digs linked him to Hollywood film art affirmed this implicit interpretation of ELYSIUM on one level.  And so another protagonist implicitly linked to a film artist failed to preserve his vital humanity at the end of the second Blomkamp film, a film as fine and fearless as DISTRICT 9 and one that also came across as created by an older and more seasoned, experienced, shrewd and knowing film artist.  And so it was curious that the people of Earth and Elysium, while different in so many ways, shared a fondness for robocops, for Blomkamp devoted a film to a devoted robocop and reaffirmed his implicit interest in Disney and fondness for the twilit and allegorical cyberpunk fiction of Gibson when he soon donned the co-writer/director/co-producer hats, teamed up again with Auret, Clarke, Cope, Copley, Opaloch, Sony and Diana Cilliers and Terri Tatchell-costume designer for, and co-writer of, DISTRICT 9, respectively-Media Rights Capital [MRC] and now with Columbia Pictures instead of Tristar and raged against the corporate machine again when he returned to a contemporary sly fi Jo’burg to bring the Gibson Trilogy full triangular circle in the twilit, allegorical, CGI enhanced and Ozian themed indie docufeature film CHAPPiE [2015], released on March 4, 2015.

“Chappie be the rudest

bad boy streetwise professor in Joburg,

fuck mother!”

        Curiously, the film began in Jo’burg in another robocop assembly factory implicitly linked to Lucasfilm called Tetravaal, fusing the Jo’burg location of DISTRICT 9 with the L.A. based Aramdyne robocop factory of ELYSIUM, created to combat rising crime in the city.  Here at Tetravaal, overseen by the implicitly Kennedy and Glinda linked CEO Michelle Bradley-played by Weaver-was the brilliant and implicitly J.J. Abrams and Great Oz linked young robotics engineer and neo-upper classman Deon Wilson-played by Dev Patel-designer of the “Scout” robocops for the Jo’burg police, reminding us that, after the Walt Disney Company purchased Lucasfilm and Industrial Light and Magic [ILM], Kennedy had persuaded Abrams to helm the daylit, allegorical, CGI enhanced and Ozian themed animaction film STAR WARS VII: THE FORCE AWAKENS [2015].  Here we also met Wilson’s arch-rival at Tetravaal, the Evil and implicitly Jose Padilha and Wicked Witch of the West linked ex-soldier and weapons designer Vincent Moore-played by Hugh Jackman, who linked another Blomkamp film openly to the MCU via his role as Wolverine-and his huge, human wearing neural headset run and Iron Man evoking armoured battle suit the Moose.

Significantly, soon after meeting these three main characters, Wilson managed to digitally create and install human consciousness on one of the company’s Scout robocops he created for the company, the perpetually beat up and implicitly C3PO and Tin Man linked Scout 22-played by Copley-a damaged Scout with only five days left on its battery.  Five tragicomic days filled all sorts of misadventures, including the sight and sound of Scout 22 being hijacked by three members of the neo-lower class, the implicitly Cameron and Scarecrow and Suzi Amis and Dorothy linked gangsta rappers Ninja and Yo-Landi-played by themselves, whose songs were featured on the soundtrack-and their implicitly Miguel Sandoval and Cowardly Lion linked friend Amerika-played by Jose P. Cantillo-who quickly dubbed Scout 22 “Chappie”, and trained him in their hideout in an abandoned factory to aid them in their criminal pursuits and their battles with the nutty and implicitly Luc Besson linked rival gangleader Hippo-played by Auret-and his gang.  Alas, after Moore used a digital skeleton key to access the Scout robocop master program and shut them all down with a tap of a button on a computer keyboard that evoked the tap of a button on a keyboard that saved the people of Earth by making them all citizens of Elysium, Wilson was killed along with Amerika, Yo-Landi and even Chappie in a closing battle with Moore and his Moose which recalled the sight and sound of van de Merwe in his Iron Man suit at the end of DISTRICT 9 to truly bring the first Blomkamp trilogy full triangular circle, in the end, and then the unexpected digital “rebirth” of Chappie, Wilson and Yo-Landi in robot forms, in complete contrast to the death of Da Costa at the end of ELYSIUM. 

Thus, Blomkamp implied his fear that creating a new STAR WARS film for the Disney owned Lucasfilm would destroy the vital humanity and creativity of Abrams and cause him to forever after crank out STAR WARS sequels as lookalike as the robocop Wilson ultimately became, a prescient fear indeed, given that STAR WARS VII: THE FORCE AWAKENS somehow managed to be worse than the dismal, twilit, allegorical, CGI enhanced, Ozian themed, Lucas executive produced and implicitly Spielberg roasting Richard Marquand indie docufeature film STAR WARS VI: RETURN OF THE JEDI [1983].  At any rate, the film’s implicit interest in Dis was affirmed by the fact that the rare times that the gangstas allowed Wilson back to teach and raise Chappie evoked the sight and sound of Geppetto-played by Christian Rub-teaching and raising the newly aware puppet Pinocchio-played by Dickie Jones-in the allegorical and implicitly Adolf Hitler roasting Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney, Hamilton Luske, Bill Roberts and Ben Sharpsteen film PINOCCHIO [1940].  The film’s allusions to the daylit, allegorical, CGI enhanced and Ozian themed James Gunn indie super satirical animaction film GUARDIANS OF THE GALAXY [2014] reaffirmed the implicit interest in the Walt Disney Company in CHAPPiE.  Last but not least, allusions to the STAR WARS Classic and Tragic Trilogies, THX 1138 and the daylit, allegorical, CGI enhanced and Ozian themed Cameron indie animaction Zonebuster AVATAR [2009] also affirmed the implicit interest in Cameron and Lucas in CHAPPiE.

And so CHAPPiE reaffirmed that Blomkamp was indeed an intuitive and satirical master of CGI enhanced, Disney needling and Gibson influenced indie docufeature film art worthy of the title of Cybermancer.  And so Columbia Pictures, Disney, Marvel, Sony and Ruben Fleischer implicitly agreed and also implicitly agreed that this fact made Blomkamp worthy of an implicit roastin’ toast in the twilit, allegorical, CGI enhanced, and Ozian themed super satirical animaction film VENOM [2018], a film released on October 1, 2018 that was based on a character created by Dauntless David Michelinie and Tenacious Todd McFarlane for Marvel Comics.

“We are Venom.”

Indeed, the sight and sound of the young, handsome, stocky, and implicitly Blomkamp linked ex-San Francisco investigative television journalist Edward “Eddie” Brock-played by Tom Hardy-being infected with a black CGI extraterrestrial symbiote that transformed him at times into the hungry, rampaging, super powerful, and all CGI “Venom” and teamed up with Brock’s reluctant, beautiful, blonde, and perhaps Charlize Theron and Glinda linked ex-sweetie Anne “Annie” Weying-played by Michelle Williams-to triumph over the Evil, brilliant, ahuman, and implicitly Elon Musk linked Life Foundation CEO Carlton Drake and his equally alien and all CGI but grey symbiote “Riot”-played by Riz Ahmed-in the end, evoked the sight and sound of poor doomed van de Merwe being infected with black alien disease that slowly but surely stripped him of his fallible but vital humanity and transformed him into the equally hungry, sometimes rampaging, slightly stronger, and all CGI alien “prawn” throughout DISTRICT 9, affirming the implicit link of Brock to Blomkamp.  Significantly, however, while infected and living in harmony with an alien symbiote, Brock was not completely and irrevocably transformed into the black and all CGI Venom forever and, thus, did not ultimately lose his fallible and vital humanity, like poor van de Merwe.  Instead, Brock and Venom combined their separate and unique abilities into a bigger symbiotic superheroic entity that was better than either and the best of both worlds, implying that Dis, Marv, Columbia, Sony, and Fleischer were pleased that that the bland and thoughtful Blomkamp was equally comfortable with his wild, creative, and CGI enhanced “superhero” film artist side, an implicit Blomkamp addressing intent that was affirmed by allusions to CHAPPiE, DISTRICT 9, ELYSIUM, the Matrix Trilogy, and THE WIZARD OF OZ. 

As for Cameron, he donned the co-producer hat and teamed up with Tim Miller, Twentieth Century Fox, and, unusually, Paramount Pictures to have the young, tall, slim, fit, boyish, blonde, and implicitly Foster and Scarecrow linked Grace-played by Mackenzie Davis-team up with the old, short, grey haired, and implicitly Glinda linked Sarah Connor-played by Linda Hamilton-and the old, ironically mellow, and implicitly Tin Man linked T-800 Terminator family man Carl-played by Arnold Schwarzenegger-to save the young, short, pretty, and implicitly Angelina Jolie and Dorothy linked Daniella “Dani” Ramos-played by Natalia Reyes-by taking on and taking out the young, short, lean, and implicitly Blomkamp and Wicked Witch o the West linked super CGI enhanced black liquid metal REV-9 Terminator-played by Gabriel Luna-at the healing, harmonizing, and eucatastrophic end of the daylit, allegorical, CGI enhanced, and Ozian themed indie docufeature Zonebuster TERMINATOR: DARK FATE [2019], a film released on October 23, 2019 that affirmed its implicit allegorical intent with allusions to CHAPPiE, DISTRICT 9, ELYSIUM, THE WIZARD OF OZ, and VENOM.

Curiously, Blomkamp then spent his pandemic donning the writer/director/co-producer hats, teaming up again with Terry Chen-who played a technician in ELYSIUM-and clandestinely creating the daylit, allegorical, CGI enhanced, and Ozian themed indie docufeature film DEMONIC [2021], released on July 22, 2021.

“I think that the doctors at Therapol…

[are] priests…

[performing] an exorcism.”

A clandestine film that was shot during the worldwide COVID pandemic in the Kamloops area of the beautiful and sunny Okanagan in the southeast interior of British Columbia that saw the young, slim, pretty, intelligent, angry, bitter, and implicitly Gian-Carla “Gia” [GC] Coppola and Dorothy linked Carly Spencer-played by Carly Pope-be persuaded by the concerned people of the cutting edge medical imaging corporation Therapol to don a neural skullcap and, transformed into a digital avatar, enter the digitally simulated subconscious mind of her neurally linked but comatose, psychotic and implicitly Glinda linked mass murderer mother Angela McDonald-played by Nathalie Boltt-to find out what plagued her mother.  Significantly, over the course of several avatar trips into the virtual space of her mother’s disturbed mind, Spencer discovered that her mother was not psychotic but possessed by an implicitly Wicked Witch of the West linked demon-played by Quinton Boisclair.  Curiously, Spencer also slowly discovered that the people at Therapol were actually hi-tech Vatican “black ops” priests who were using her to confirm her mother’s demonic possession so that they could perform an exorcism on McDonald.

Alas for the hi-tech priests, the demon evaded them by leaving McDonald, possessing their leader, the bald, bearded, slim, intense, creepy, driven, suit wearin’, and implicitly Wright and Great Oz linked Therapol CEO Michael Dolos-played by Michael J. Rogers-and using him to kill them.  Thus, the sight and sound of Spencer teaming up with the tall, amiable, concerned, sympathetic, and implicitly Andrew Garfield and Cowardly Lion linked Martin-played by Chris W. Martin-to kill Michael with a Holy Lance and then, when the demon left Michael and possessed her, using the same Holy Lance to impale her guts and exorcise the demon forever in the healing, harmonizing, and eucatastrophic end implied the hope of Blomkamp that GC would stop implicitly and sympathetically addressing the poor ol’ Gardevil in her films as she did in the daylit, allegorical, CGI enhanced, and Ozian themed indie docufeature films PALO ALTO [2013] and MAINSTREAM [2020] and go on to much better and important things.

Then Columbia Pictures, Disney, Marvel and Sony teamed up again with Hardy-now a co-producer-and Williams and now with Andy Serkis to implicitly reaffirm their delight that the still bland and thoughtful Blomkamp lived in symbiotic harmony with his wild, creative, and CGI enhanced “superhero” film artist side by having the young, handsome, stocky, and implicitly Blomkamp and Scarecrow linked San Fran print journalist Edward “Eddie” Brock aka the alien, black, and all CGI “Venom”-played again by Hardy-and his still beautiful, blonde, reluctant, and perhaps Theron and Glinda linked ex-sweetie Anne “Annie” Weying-played again by Williams-return for more allegorical Brock and roll mischief and mayhem and take on and take out the exuberantly demented and implicitly Quentin Tarantino and Wicked Witch of the West linked serial killer Cletus Kasady aka the alien, red, and all CGI “Carnage”-played by Jack Bandeira as a young man, and by Woody Harrelson as a middle aged man, respectively-and his one-eyed and implicitly Daniella Pick and Nikko linked girlfriend Frances Barrison aka “Shriek”-played by Olumide Olorunfemi as a young woman, and by Naomie Harris as a middle aged woman, respectively-at the end of the twilit, allegorical, CGI enhanced, and Ozian themed Andy Serkis super satirical animaction film VENOM: LET THERE BE CARNAGE [2021], a film released on September 14, 2021 that affirmed its implicit allegorical intent with allusions to CHAPPiE, DISTRICT 9, ELYSIUM, the Matrix Trilogy, and THE WIZARD OF OZ. 

An implicit interest in Blomkamp that made it fitting that two years later the man himself put on the director hat and teamed up again with Columbia and Sony and for the first time with Play Station Productions on the daylit, allegorical, CGI enhanced and Ozian themed animaction film GRAN TURISMO [2023], released on July 16, 2023 and inspired by a true story.

“If you’re one

of the very, very few people

getting this message,

it means that you set the fastest lap time

in Gran Turismo…

We’ve created an academy

to take the best SIM racers in the world

and train them to race

real race cars.”

Significantly, the sight and sound of Nissan marketing executive Daniel “Danny” Moore-played by Orlando Bloom-using the Gran Turismo Sony playstation videogame to recruit talented videogame players like the tall, skinny, gangly, geeky, baby faced, naïve, innocent and implicitly Zendaya linked mulatto teen Gran Turismo nut Jann Mardenborough-played by Archie Madekwe-who could be transformed into real Nissan racing car team racers at the beginning of the film evoked the sight and sound of the zany and dramatic star fighter recruiter Centauri-played by Robert Preston-using The Last Starfighter arcade videogame to recruit talented videogame players like the implicitly Lucas linked teen Alex Rogan-played by Lance Guest-to be galactic star fighter pilots needed to fight off the implicitly Spielberg and Wicked Witch of the West linked Xur-played by Norman Snow-and the implicitly flying monkey linked Ko-Dan armada in the twilit, allegorical, CGI enhanced and Ozian themed Nick Castle docufeature film THE LAST STARFIGHTER [1984].  Curiously, Moore’s quixotic campaign also evoked teen Zachary “Zack” Lightman being recruited by the Earth Defense Alliance [EDA] via the Armada videogame to also fight off an invading alien armada of Evil Europans in the daylit, allegorical, CGI enhanced and Ozian themed Ernest Cline indie docufiction novel Armada [July 2015].

Thus, the sight and sound of Mardenborough winning the videogame recruitment training and then being trained by the sad eyed and knowing ex-racer chief engineer/mechanic Jack Salter-played by David Harbour-to best van de Merwe, Da Costa, Wilson and Yo-Landi by leaving behind his fake CGI videogame existence and developing and regaining his vital humanity to be a real ace racer who could beat even pesky Team Capa ace racer Nicholas Capa-played by Josha Stradowski-in the end, implied the hope of Blomkamp and Sony that life long Disney Princess Zendaya would leave behind her supporting roles in Disney films like the Jon Watts implicitly Gardevil addressing Spider-Man Trilogy and go on to take lead roles in films and perhaps even become a talented and successful director herself in another implicit dig at Dis in a Blomkamp film. 

At any rate, GRAN TURISMO was a surprisingly sweet and lighthearted film from Blomkamp that made it ironic that Dis, Marv, Columbia, and Sony teamed up again with Hardy, Serkis, and Kelly Marcel-writer and co-producer of VENOM: LET THERE BE CARNAGE-to again implicitly affirm their delight that the still bland and thoughtful Blomkamp lived in symbiotic harmony with his wild, creative, and CGI enhanced “superhero” film artist side by having the young, handsome, stocky, on the run, and implicitly Blomkamp and Scarecrow linked San Fran print journalist Edward “Eddie” Brock aka the alien, black, and all CGI “Venom”-played again by Hardy-do his best to take on and take out all of the nasty, multi-limbed, implicitly flying monkey linked, and all CGI Xenophages sent by the Evil, creepy, vengeful, long white haired, and implicitly Wicked Witch of the West linked Knull-played by Serkis-from imprisoning Klyntar to hunt down symbiotes and the Codex on Brock’s familiar Earth after some multiversal mayhem at the end of the twilit, allegorical, CGI enhanced, and Ozian themed super satirical animaction film VENOM: THE LAST DANCE [2024], a film released on October 23, 2024 that affirmed its implicit allegorical intent with allusions to CHAPPIE, DISTRICT 9, ELYSIUM, the Matrix Trilogy, and THE WIZARD OF OZ.  A film that kept the CGI and mischief and mayhem luvin’ spirit of Blomkamp in the Temple Theatre, making audiences look forward it did to the day the South Africanadian decided to again spring bok to the future and reaffirm that indeed he was a lekker…Cybermancer.