METRONOME is both the most straightforward (as well as the most difficult) of Stephanie Barber's films. It is very dear to the filmmaker's heart. The soundtrack of a radio play is off-set by the intractable images of "spaces." The former seems to balance precariously between kitsch and true heart-rending emotion and the latter references the asceticism of seventies minimalism (in experimental film) with the impenetrable intellectualism becoming increasingly moving as the film progresses. The marriage of these two elements is an odd tension: the tale of the play, the threat of limb extraction, asks the necessity of "whole and what the elements are which compose complete."
Having just returned from a mission to Mars, Commander Ross isn't exactly himself. He's slowly becoming a terrifying alien entity with one goal -- to procreate with human women! When countless women suffer gruesome deaths after bearing half-alien offspring, scientist Laura Baker and hired assassin Press Lennox use Eve, a more tempered alien clone, to find Ross and his brood.
When guardian angel Seth -- who invisibly watches over the citizens of Los Angeles -- becomes captivated by Maggie, a strong-willed heart surgeon, he ponders trading in his pure, otherworldly existence for a mortal life with his beloved.
In the combustible action franchise's final installment, maverick detectives Martin Riggs and Roger Murtaugh square off against Asian mobster Wah Sing Ku, who's up to his neck in slave trading and counterfeit currency.