Its arrival naturally stirs the fronts of spirited resistance. At over 3,000 miles in diameter and carrying its own damaging gravity, the ship is capable of drilling into and extracting a planet’s core, destroying the Earth’s magnetic field, and killing the entire planet. All signs point to an alien distress call that is finally being answered by an immense queen ship. Worse, those humans previously affected by their mental links, including aging heroic former President Thomas Whitmore (Bill Pullman), begin to experience that residual pain again. On the eve of the 20-year anniversary of mankind’s victory, the leftover alien vessels and captive alien prisoners in stasis mysteriously begin to awaken. With a vast satellite network and outposts on the Moon and neighboring planets, the powers that be feel that Earth is ready for any interstellar threat that visits next. Scientists like David Levinson (Jeff Goldblum) tapped into ways to repurpose the alien technology in the development of new weapons, energy sources, propulsion, and vehicular capabilities superior our own. The United Nations created the massive Earth Space Defense (ESD) program centralized at the old Area 51. Countries across continents united to rebuild cities through the power of survivor’s remorse and hubris. The worldwide alien war of 1996 galvanized the planet together over the last two decades. What was awesome the first time isn’t jaw-dropping anymore. In the twenty years since, the evolution of CGI filmmaking of bigger and more opulent destruction has elevated the craft to the moniker of “ disaster porn.” Returning with the grand ambitious sequel “Independence Day: Resurgence,” the former standard-bearer enters a present day where audiences have been desensitized by asteroids, comets, natural disasters, monsters, Transformers, and superheroes dozens of times over. No better film encapsulated that new era than the raucous and wildly successful “Independence Day” from 1996 with aliens laying waste to world monuments and making a star out of Will Smith. The advent of computer-generated visual effects in the 1990s raised the scope of what and how much disaster movies could destroy on screen.
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