Author: Tydus

Terminator: Dark Fate

Post author By Tydus
Post date November 2, 2019

Paramount Pictures / 20th Century Fox, 2019

Prepare yourselves, it’s time for another Terminator film. About as indestructible as its cyborg lead, the franchise has continued to roll out entries for over 30 years and doesn’t appear ready to go down just yet. Where the original and its defining sequel were action blockbusters years ahead of their time, each film that followed was progressively worse than the last until the series hit rock bottom with Terminator: Genisys. Given this history, it was surprising that the series was given yet another revival this week and – against all odds – it’s actually not bad. The franchise’s latest entry blends the best of its past with the modern action tropes and societal commentary we’ve come to expect, lifting the series to heights it hasn’t seen since 1991.

Those familiar with the Terminator’s previous outings will know what to expect here – machines have taken over the planet somewhere in a dystopian future, yet they feel the need to send a killer cyborg back to the present so they can, quite violently, eliminate some future troublemakers while they are young and weak. The human target inexplicably meets a second, far friendlier killer cyborg, before watching the two machines duke it out right up until the credits roll. Dark Fate doesn’t stray too far from repeating this formula, but its lean, no-nonsense approach to the action means it tends to succeed in the places where past sequels failed. Grace (Mackenzie Davis) fills the role of the guardian Terminator this time around, however she’s far less robotic than her past counterparts. Without spoiling too much, Davis’ character is more than the usual emotionless AI, and Grace becomes a more interesting and complex character as a result. Sharing the screen with Grace throughout most of the film is Dani (Natalia Reyes), who finds herself being relentlessly pursued across Mexico and the US due to some great purpose she serves in the war-torn future. Unfortunately featured little in the film’s marketing, Reyes does a solid job as a series newcomer and manages to hold her own amongst the strong cast. She essentially fills a similar role to the young John Connor in Terminator 2: Judgement Day, and you’ll quickly find that her struggle is just one of many similarities this film shares with the blockbuster second entry.

The return of Linda Hamilton to the role of Sarah Connor has been the largest selling point in the lead up to this latest release, and with good reason. Much like Jamie Lee Curtis did in the recent Halloween reboot, Hamilton delivers a powerhouse performance as the grizzled action veteran returning to do her character justice. She connects and interacts with the other leads effortlessly, plus her dark wit and cold delivery see her delivering most of the film’s lighter moments. The inclusion of Hamilton’s Sarah Connor isn’t just for nostalgic purposes though, as her return has also been used to cement Dark Fate as a bit of a reboot – writing off the last three films and inserting itself as the true sequel to 1991’s Terminator 2. This is definitely a benefit to the film and its plot, as it provides something of a clean slate for a convoluted series that’s been in a downward spiral for a while. While it does mean that you’ll need to have some knowledge of the first two films to really get a handle on what’s happening, it also means there’s a decent bit of history and groundwork already in place.

For the transition between these two films to happen, some work had to be done in bridging the 22 year gap – and the way this is done in the opening minutes might be a bitter pill to swallow for some. Some may find its treatment of classic characters a bit rough, however others might see it as a turning point and the breath of fresh air the series desperately needed. Regardless of audience’s thoughts on what plays out, most will definitely agree it’s certainly not a sequence that’s easy on the eyes. This introduction is one of the most CGI-heavy segments of the entire film, and it serves as a pretty rough example of what’s to come. You’ll have no problem spotting the real from the fake both here and throughout the film, especially when the effects are applied to the cast’s faces or movements. This is generally on show most often with the franchise’s newest killing machine, the Rev-9 Terminator (played by Gabriel Luna). While Luna may do well with what he’s given, his character is a digital creation in just about every scene. This is well used in places to show off some slick abilities and superhuman feats, yet in some of the more fast-paced fight scenes the Rev-9 often becomes a weightless blur of CGI that can be a bit jarring to watch. The film seems to recognise this issue as well, with majority of the second half of Dark Fate shot under the cover of darkness.

If you’re able to look past some of the rougher edges of it all, there’s definitely a huge amount of action on offer to keep the lengthy film alive. The series has always fielded some pretty ridiculous and meandering plots, so the latest entry does well to keep the intensity dialled up for the most part. This means that you’re in for a ton of slow-motion explosions, brutal gunfights and – of course – the return of Arnold Schwarzenegger. Because it wouldn’t be a true Terminator film without the original himself, Arnie joins the cast once more to do what he does best. His inclusion pairs well with the return of Linda Hamilton and original producer James Cameron, and he’s at his peak when the action heats up or when injecting the quieter moments with some of his trademark humour. It’s worth noting that Dark Fate has wisely chosen not to place Arnie in the lead role here, meaning that the audience receives a good dose of nostalgia and fan-service while also allowing the series to have a fresh start as it moves forward.

Terminator: Dark Fate is pretty much everything it sets out to be. It’s an explosive blockbuster with equal parts nostalgia and wit designed to appeal to old and new fans alike. However it’s also an over-the-top and repeated narrative with effects and visuals that leave a whole lot to be desired at times. In saying this, it’s certainly better than many of the franchise’s recent releases, and fans of the early films will get a kick out of what’s on offer. As a modern reboot, it’s managed to rise above its recent sequels to deliver an action ride that’s at least worth the price of admission – and if this adventure’s success is anything to go by, the Terminator series will definitely be back.

Terminator: Dark Fate stars Linda Hamilton, Mackenzie Davis, Arnold Schwarzenegger, Natalia Reyes & Gabriel Luna – In cinemas now.

Tags Arnold Schwarzenegger, Linda Hamilton, Mackenzie Davis, Sarah Connor, Terminator, Terminator: Dark Fate, Tim Miller

Movie Reviews

Maleficent: Mistress of Evil

Post author By Tydus
Post date October 21, 2019

The original Maleficent was a gamble for Disney back in 2014, being one of the first of what would become a seemingly endless stream of modern updates to animated classics. Based on the familiar tale of Sleeping Beauty, the film shook up the source’s story and characters to create an entirely new tale – one that became a template for several future Disney films in the following years. While the core plot itself was fairly standard, Maleficent found success with its darker tone, stunning visuals and a defining performance by Angelina Jolie as the titular sorceress. It’s been five years since the original, and we now find ourselves presented with its follow up fantasy sequel: Maleficent: Mistress of Evil. Aiming to build upon the foundations of its first chapter, the film certainly manages to go bigger and bolder the second time around. However, while it may be a longer and more brutal adventure than the original, the sequel suffers from a standard plot and pacing issues throughout – saved only by some amazing sights and the efforts of its three immensely talented leads.

Maleficent: Mistress of Evil picks up several years after the events of the first film, with a grown Aurora (Elle Fanning) ruling over the enchanted woods and its creatures as the Moors’ human queen. When she’s asked for her hand in marriage by the neighbouring kingdom’s Prince Philip (a recasted Harris Dickinson), she quickly accepts. This doesn’t sit too well with Aurora’s godmother Maleficent (Angelina Jolie), who despises and distrusts all humans following some rough dealings with them in the past. This hatred is only fuelled upon meeting Philip’s mother, Queen Ingrith (Michelle Pfeiffer), who seems intent on driving a wedge between Aurora and her adoptive mother. What follows these opening minutes is a lengthy adventure that never strays too far from this base concept. Where the film does attempt to move away from expectations or present something new, it often leads to drawn out and unnecessary world building – most of which amounts to very little in the grand scheme of things. It feels as if much of the story and plot devices were pulled together from a range of ideas and narratives, rather than developed as one cohesive tale that flows from beginning to end. The first film also covered almost all of the lore and events of the original Sleeping Beauty, and this has forced the sequel to get creative in places – albeit to mixed results.

Thankfully the original duo of Fanning and Jolie return to reprise their respective roles, and continue to do a fantastic job of carrying the audience through the adventure. Aurora becomes a fish-out-of-water for much of the film, struggling to balance the expectations of her new life, those she is charged with ruling over in her woodland home and the fury of her protective guardian. Fanning conveys these conflicts perfectly, bringing maturity and strength to her former role while also maintaining the charm of a young girl raised in an enchanted forest. Then comes Jolie, who once again appears to have been born to play the dark sorceress Maleficent. Stealing just about all of the film’s biggest scenes, her character commands every major conflict and challenge that the tale throws out. She’s the titular character for a reason, and her one of a kind performance is easily the film’s biggest redeeming feature.

Rising up to challenge Maleficent this time around is Michelle Pfeiffer’s Ingrith, queen of the kingdom bordering the Moors and Aurora’s soon to be mother-in-law. As expected, Pfeiffer brings an incredible amount of experience and pedigree to the powerful queen, creating a villain that does well to rival Jolie throughout the film. However Queen Ingrith is often a bit too heavy handed with the villainy, with some late attempts at explaining her behaviour doing little to justify how evil she eventually becomes. From the moment she steps on screen, she’s been written to be completely loathed by audiences at every turn. To be honest; Maleficent really didn’t need a second chapter, and creating one sees Pfeiffer’s character suffer from having to go from a complete unknown to a remorseless villain in a very short space of time.

Rounding out the cast is the Queen’s son Philip, who plays the typical Disney prince in search of his princess. Despite being re-casted following the first film, the switch to Harris Dickinson doesn’t hurt things too much and he does well to bring some life to his character’s limited scenes. Another returning character is Diaval (Sam Riley), who continues to act as Maleficent’s right hand and confidant. Riley’s screentime is as limited as it was in the first chapter, however he injects the film with a bit of charm and wit while also shedding light on Maleficent’s more guarded emotions. With so many characters already sharing the screen, it’s hard to imagine being able to expand the roster any further – however the film also manages to introduce two new faces in Conall (Chiwetel Ejiofor) and Borra (Ed Skrein). For reasons I won’t spoil, the two share close ties to Maleficent herself and both attempt to make an ally of her for their own means. While the two actors do well in their respective roles, the characters themselves ultimately just exist to extend the plot further than it ever needed to be – again feeling like another product of a needless sequel. There’s also a significant amount of time given to developing these characters and their connection to Maleficent around the halfway point, which is at odds with an eventual conclusion that feels rushed and disjointed by comparison.

Yet while the extended runtime might not always be spot-on from a narrative perspective, it does give audiences more time to take in what is admittedly a beautiful looking film. The effects on display are some of the most vivid and realistic visuals seen in any recent fantasy epic, with lush green forests and grand castles completely capturing the Disney fairytale vibe. The woodland creatures are all intricately detailed and brought to life, and Jolie’s imposing black wings are so well done and perfectly woven into her movements, you’d swear she was born with them. These sights are in addition to the huge amount of costume and design work that has also gone into every piece of the film – many of which outdoing the already amazing work from the original. Maleficent’s horns and gowns are insanely well done, and are offset by Aurora’s floral numbers and Queen Ingrith’s outrageous pearl and jewel encrusted sets. While the excellent visual work doesn’t completely save the plot here, it certainly goes a long way in creating a sight worth seeing on the big screen.

All in all, Maleficent: Mistress of Evil is a fine attempt at a sequel that had no real reason to exist. Its three strong leads and beautiful world create a real spectacle alive with action and colour, however it’s unable to escape the basic plot and needlessly drawn out world building lying beneath it all. Fans of Jolie, Pfeiffer or Fanning and those who enjoyed the original will be the ones who stand to enjoy this the most, as the film doesn’t quite stand tall amongst some of the other strong stories that have been told in cinemas this year. Yet while it may not reach the starry heights that it was aiming for on its second outing, when Maleficent: Mistress of Evil does shine – it shines bright.

Maleficent: Mistress of Evil stars Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Harris Dickinson, Sam Riley, Chiwetel Ejiofor and Ed Skrein – In cinemas now.

Tags Angelina Jolie, Chiwetel Ejiofor, Disney, Ed Skrein, Elle Fanning, Maleficent, Maleficent: Mistress of Evil, Michelle Pfeiffer

Movie Reviews

Once Upon a Time… in Hollywood

Post author By Tydus
Post date August 19, 2019

Quentin Tarantino is no stranger to epics. In fact, almost every film he’s made has been epic in one way or another – be it the bloody tale of revenge in Kill Bill or the slow burn whodunnit murder mystery of The Hateful Eight. In crafting this legendary back catalogue, Tarantino has also become no stranger to Hollywood’s bright lights and cutthroat nature. Combining his trademark style with this real-world backdrop, the infamous director’s 9th feature film Once Upon a Time… in Hollywood aims to be his grandest tale yet – clocking in at a meaty 160 minutes. Bringing Leonardo DiCaprio and Brad Pitt back into the fold with The Wolf of Wall Street star Margot Robbie, the film manages to be one of the director’s most grounded and restrained offerings yet. Make no mistake however, by the time the credits roll, you’ll have no doubt that you’ve just witnessed a Quentin Tarantino creation.

Following the standard of 2009’s Inglorious Bastards, Once Upon a Time… in Hollywood is a film of fact that’s been given a Tarantino twist of fiction. Another movie loosely based on its subject material, but one that isn’t afraid to play around with key details to create something outrageous and memorable. Billed originally as an epic centred around the Manson Family Murders of the late 60’s, this is instead very much a window into one man’s mid-life crisis. We spend a lot of time following our three lead characters through their daily lives, with the almost three-hour runtime feeling almost gratuitous at times. It’s a very slow burn compared to the director’s earlier films, until it suddenly isn’t. In saying this, Tarantino has made sure that every scene and line fits some purpose in the grander scheme of things. He’s built an entire world here, and it’s a world that regularly feels alive and connected. If a character mentions a particular TV show in passing during conversation, expect to hear about it a few more times or even join the characters as they watch it themselves an hour later. It often feels like every move has a reason, with each character’s decisions and actions making sense to those audiences able to piece the personalities together as the show goes on. While allowing viewers to develop their own understanding of each character in this way is a bold move, it can be tough trying to keep up with all the subtle details buried in so much movie.

Thankfully this lengthy adventure is built on the shoulders of an immensely talented cast, with the film’s plot itself revolving around the struggles, dangers and rewards that come with being a big-time movie star. At the centre of things is Leonardo DiCaprio’s Rick Dalton, a 60’s TV show cowboy desperately trying to hit the big leagues as his best years seem behind him. DiCaprio cuts a striking image of a fading Hollywood star suffering a mid-life crisis, a character honestly more relatable to audiences than it may seem. He sells the role completely with great emotional range, adding in a heavy accent and a slight stutter to make Rick stand out from the crowd. His scenes shooting a western alongside the late, great Luke Perry and the fantastic young Julia Butters are a total highlight, and prove why DiCaprio is still a household name.

Completing the other half of the headlining duo is Brad Pitt, returning for another Tarantino offering after a ten-year break. Pitt plays Cliff Booth, the stunt double and right hand to Rick during the film. More than just a lowly side act, his character rivals – if not, surpasses – his on-screen counterpart in terms of charisma and style. A character seemingly crafted entirely and lovingly by Tarantino himself, Cliff is a scarred, rugged and aging stunt man who has a healthy fear of nothing and the skills to back it up. Painted as slightly unhinged at times with a questionable history, Booth’s tag-team with faithful pooch Brandy is a central relationship in the film that reaches an epic crescendo before the film’s end.

Rounding out the leading names is Margot Robbie as 60’s starlet Sharon Tate, infamous to those who know the history of the Manson Family Murders that the film is set around. Robbie doesn’t play the typical leading lady that you may be expecting going into the film, instead occupying a secondary role largely removed from that of the two male leads. Tarantino portrays Tate as a naïve, innocent woman at the start of her big Hollywood career, untouched by the politics and bitterness of the industry around her with Robbie dialling up the charm in spades. If the film’s title suggests we’re watching a fairy tale, Tate is without question its princess. This is never more on show than when she’s silently revelling in the joy of watching an audience love her latest movie, gleefully hiding herself in the aisles among the crowd as they laugh along.

Sharing much of Robbie’s screentime is Emile Hirsch, who plays her former lover-turned-friend Jay – and he isn’t the only face you’ll recognise answering the call for Tarantino’s latest project. Randy and his fireball wife Janet (played by Kurt Russell and a hilarious Zoe Bell) inject some great shots of humour when on screen, and Russell keeps us all up to date throughout the film as a narrator with some great lines and sharp delivery. Timothy Olyphant assumes his best Justified cowboy persona for his role, playing a straight-shooting gunslinger opposite DiCaprio in a spaghetti western that is just as great as it sounds. Despite a relatively short time on screen, we also have Al Pacino delivering a return to form as the wise-cracking, well-meaning talent agent that sets his sights on the wayward Dalton. We even see Dakota Fanning deftly assuming one of the most intimidating roles of the film, proving to be in a league of her own after rising to fame as a child actress all those years ago.

Fanning’s not-so-merry ensemble of unsettling Manson family hippies also help to display the cast’s huge commitment to the time period and its vibe. Their outfits, demeanour and speech all help to sell the world the film is being set against. Coupled with the lengthy runtime working to pull you in as much as possible, you’ll almost forget you’re looking at the real world as it (almost) was 50 years ago. A strong example of this world building is within the scattered groups of the Manson family dotted throughout Hollywood. The hippie groups just feel like a brainwashed cult, without ever needing to come right out and say it – plus there’s no mistaking Dalton’s open feelings toward every single one of them. As expected, this total attention to detail carries through to every other piece of Tarantino’s latest grand design. The old movies and shows played during the film are – or may as well have been – all shot during the 60’s. After seeing Leonardo DiCaprio superimposed into classic films so perfectly, you’d swear he was in them all along.

This love carries forward to things like the soundtrack, vehicles and backdrops which are also expertly chosen to completely drown you in 1960’s Hollywood style. Tarantino was always a big fan of spaghetti westerns, and he’s used the film to create a number of elaborate scenes where he essentially builds one right in front of us. This meta-style type of storytelling certainly isn’t new ground for the director, though seeing his experience and incredible level of detail on show is always a wonder to watch. A fine example of this comes in the song choice used to bring us into the final act. We watch as our characters fall into place while the Rolling Stone’s 1966 song “Out of Time” plays alongside, subtlety telling the audience that we’re in the final stages of the grand tale. Always going that extra step, what actually plays is Mick Jagger’s orchestral cover of the song, not released until well into the 70’s – meaning that even the song’s existence in the film is ‘out of time’.

While being a relatively long journey that doesn’t attempt to hold out a guiding hand for those unfamiliar with its plot, the film is still as finely crafted and tightly written as any of Quentin Tarantino’s past works. Certainly slower and more grounded than most of his other offerings, the charismatic trio of DiCaprio, Pitt and Robbie manage to keep you invested all the way through to its wild finale. Shot through the lens of the swinging 60’s, Once Upon a Time… in Hollywood spends its time slowly lifting the mask of glitz and glamour from the somewhat grim face of the movie industry – before promptly knocking all its teeth out.

Leonardo DiCaprio star in Columbia Pictures “Once Upon a Time in Hollywood”

Once Upon a Time… in Hollywood stars Leonardo DiCaprio, Brad Pitt, Margot Robbie, Kurt Russell, Timothy Olyphant, Dakota Fanning, Al Pacino and Luke Perry – In cinemas now.

Tags Brad Pitt, Columbia Pictures, Leonardo DiCaprio, Margot Robbie, Once Upon a Time... in Hollywood, Quentin Tarantino

Movie Reviews

Hobbs & Shaw

Post author By Tydus
Post date August 10, 2019

Does anyone remember the original The Fast and the Furious all those years ago? The tale of an undercover cop infiltrating a street racing ring on the coast of California was a fresh and exciting bit of action that went on to be a huge hit. It gave the people what they wanted at the time, featuring a cast of rough yet likeable outsiders, neon-lit Japanese cars and a decent sprinkling of action here and there to keep things interesting. I start here as it’s easy to forget those early days with how far the series has come since, as the franchise now pumps out some of cinema’s biggest action blockbusters with no end in sight. Following the record-breaking 8th instalment, Fast & Furious has just delivered its first-ever spinoff with Hobbs & Shaw, aiming to give the series a chance to experiment and shake up the formula after almost 20 years. I can tell you that, while what we’ve received is certainly different from what we’ve all come to expect from the franchise, it’s still the same charged-up adrenaline shot at its core – only a whole lot more furious.

This outing sees Dwayne Johnson and Jason Statham reprise their respective roles as the hulking American Diplomatic Security operative Luke Hobbs and ex-villainous British black-ops agent Deckard Shaw, with the two taking centre stage here for the first time. Hobbs has become a series regular since entering the scene in Fast 5, and Johnson has no problem in moving his character up into lead position. His spot as one of the headliners also shifts the tone of Hobbs & Shaw from what we’d usually get from a Fast & Furious movie, with the comedy and laughs constantly flowing. Not one to shy away from the spotlight himself, Shaw completes the titular duo with Statham bringing his trademark clean-cut British bruiser style to the role in spades. Shaw gets far more screentime than what he’s been given in the series before, fitting into the action perfectly like one of his own finely tailored suits. Despite their differences, the two have a decent amount of chemistry – at least enough to carry an action movie through its paces. While at times seeming like a drawn-out contest to prove who’s top dog, their relationship develops and alters over the course of their wild and explosive ride.

Centre to their mission is the film’s third lead, Hattie Shaw (Vanessa Kirby). As her name suggests, Hattie is the younger sister of Deckard, and she’s found herself dead in the sights of a high-tech underground cell, who are (of course) out looking to end the world in some way or another. Kirby does very well with the role, not afraid to jump into the action at a moment’s notice to prove she’s more than just a token damsel in distress. She helps keep her counterparts grounded and in check, with her relationship between both male leads giving all three heroes a clear purpose and goal. Rounding out the film’s big names is Idris Elba, who plays the cybernetic supersoldier and self-titled “bad guy” Brixton Lore. Elba gives the role his best, but he’s been given some pretty average dialogue and limited time on screen, both of which work to restrict what could have otherwise been a pretty interesting villain. Brixton’s sci-fi, almost cyborg enhancements and abilities also highlight that the spinoff entry isn’t afraid to take the Fast and Furious series down new and unexplored roads.

On that note, you’ll find that this entry isn’t particularly big on its cars, at least compared to the role they’ve played throughout the franchise’s history. There’s not a single epic drag race to be seen, and there’s really only one noteworthy ride on show throughout the entire movie. Instead, Hobbs & Shaw goes hard on the laughs, sliding at least a hint of comedy into almost all of its scenes. Even tense and serious moments are generally undercut with some scathing banter between friend and foe alike – plus there’s several one-liners and a few big name cameos sprinkled throughout purely to get the audience going. It all works to the film’s credit, and it helps to remind us that it’s not taking itself too seriously. This sort of self-awareness certainly doesn’t hurt it either, as the action scenes in this movie are straight-up outrageous. You’ll be rolling your eyes as our heroes leap from skyscrapers, launch vehicles through walls and pull helicopters from the sky – but you’ll do it with a laugh. Hobbs & Shaw is absolutely bonkers, and it knows it.

You’ll have a great time if you don’t think too hard about how all the on-screen action is possible, otherwise the fully stacked two and a half hour run can start to come apart. There’s quite a few scenes and plot decisions that make very little sense other than to move us along to the next adrenaline rush, with special mention given to the final third of the movie where any remaining believability is quickly cast away. The camera work and effects keep up pretty well for the most part – especially when crafting the bedlam on screen – however there are a few rough patches where it’s fairly clear that our heroes aren’t as deep in the action as the cameras would like us to believe. Though with all this being said, it still reads like the summary of any other big action blockbuster – and it’ll be just as successful as most. No one is going into this kind of film expecting sweeping, dramatic performances or drawn out emotional scenes. We roll in to switch off and see some action heroes wreck fast cars, knock some heads together and generally get around blowing things up. If Hobbs & Shaw wants to deliver all this to us with a bunch of laughs on the side, we’re hardly going to turn them down.

A bunch of fun for those who know what they’re getting into, Hobbs & Shaw is definitely one of the biggest action movies to arrive this year. While not quite reaching the same level of polish and heart of some of the earlier entries into the series, the spinoff’s fresh cast and comedic approach help it to carve out its own successful piece of the franchise. It certainly won’t do anything to convert those not already faithful – but if you find yourself looking for an outrageous, globetrotting action joyride, then buckle up and let Hobbs & Shaw show you how it’s done.

Hobbs & Shaw stars Dwayne Johnson, Jason Statham, Vanessa Kirby, Idris Elba, Eiza González and Helen Mirren – In cinemas now.

Tags Dwayne Johnson, Fast & Furious, Hobbs & Shaw, Idris Elba, Jason Statham, The Rock, Universal Pictures, Vanessa Kirby

Game Reviews

Marvel Ultimate Alliance 3: The Black Order

Post author By Tydus
Post date August 8, 2019

It’s 2019, and there’s no doubt that Marvel Studios rule the screen when it comes to bringing superheroes to life. With a shared universe spanning multiple characters, time periods and galaxies, each new Marvel release almost always manages to pull in familiar faces or themes from the its enormous catalogue. Yet despite how common it’s become to see these stories and teamups in recent years, it’s easy to forget that some of the biggest Marvel gatherings have been floating around for years. Around a decade ago, the first two entries in the Ultimate Alliance series were released on consoles – bringing with them some of the most unique and diverse character combinations that we’d ever seen. Finding moderate success with fans of the comics, the series allowed players to create and play out their own superhero dream teams across its first two entries before going into hiding in late 2009. Fast-forward through ten years of skyrocketing superhero success to now, and we’ve just been handed the latest build-your-own Avengers experience in Marvel’s Ultimate Alliance 3: The Black Order. An absolute success in capitalising on the MCU’s current position, the game is very much a celebration of Marvel history and its characters – an experience unapologetically aimed toward its biggest fans.

Once again, our heroes are hot on the heels of recurring troublemaker Thanos in yet another hunt for the 6 all-powerful Infinity Stones. It’s a setup that is all too familiar to anyone keeping up with the recent Marvel films, however it’s got an entirely new spin here. Ultimate Alliance 3 sits outside the current plotlines and settings of the movies and comics, meaning that it has free reign when it comes to telling its story. It’s also given a far lighter tone, creating an experience where it seems totally plausible for Venom, Gamora, Wolverine and Doctor Strange to be fighting off ninjas on New York’s moonlit rooftops. Your hunt for the stones will take your chosen team through a number of chapters, each based around areas or time periods that are instantly recognisable to those familiar with Marvel’s work. The story itself isn’t entirely memorable, however it serves as a loose thread to tie all the madness together as much as possible – with many of the cutscenes playing out as great action pieces that could have been torn straight from the big screen. Every major scene and exchange plays out the same regardless of your character choice, so your dream team won’t cost you any of the action once things heat up – and believe us, you’ll have a dream team.

This feature in particular is great, as the roster of playable heroes here is outrageous. All the big names are there, from the core Avengers and X-Men right through to other favourites like Daredevil and Loki. A slew of recently announced DLC is also set to bring headlining characters from Blade, The Punisher and the Fantastic Four to the lineup soon, meaning that even those with only a passing interest in Marvel will likely find a favourite here. Each character has a unique set of moves and strengths based on their powers or combat style – Hulk is going to soak up more of a beating than Hawkeye, who himself is best played as a ranged fighter. You’ll also receive team bonuses and perks based on your squad of four, such as boosts gained by pulling the Spider-Man multiverse together or assembling the original Avengers. With all this being said, you can just choose whatever rag-tag group you like and you’ll still manage fine – so if you’re just looking to run the wisecracking pair of Rocket and Deadpool, go right ahead.

Regardless of your chosen squad, Ultimate Alliance 3 is first and foremost an old-fashioned, top-down beat-em-up. You’ll generally be coming up against waves of small enemies time and again, with each going down with not much more than a bit of button-mashing. Each of the characters have a few special moves available to create some breathing room as well, but these encounters are really just filler between the game’s several boss fights. A bunch of names from Marvel’s catalogue of villains are on hand to knock you and your team about, and they break up the otherwise repetitive fights with lesser-known, small-fry villains along the way. Some of these bigger fights can be a decent challenge, requiring some well-timed blocks, strategy or attempts to exploit specific weaknesses. However quite a few will go down as long as you keep up the pressure, and some can feel long or tedious just for the sake of stretching things out. All in all, the combat and fights certainly aren’t deep by any standards. Yet this approach creates a hugely accessible brawler, which is a credit to a game enjoyed most when played with others.

Ultimate Alliance‘s third entry allows you to play it entirely with up to three other people either in the same room or online. If you’re able to grab a few friends who are also Marvel fans, this is definitely the best way to play. You’ll find that, while the fights and mechanics tend to wear on after a while, switching between your favourite heroes and keeping up with the exciting cutscenes work well to keep things fresh. If you’re still looking for more after the story’s end, there are a number of optional challenges available and a whole lot of grinding potential. These challenges come with some restrictions and time limits, while offering rare items and some (admittedly average) alternate outfits. The game’s portability as a Nintendo Switch exclusive really helps here too, as these shorter missions are great for quick bursts when you’re on the go. How much longevity you’ll get from these extras depends entirely on how much of the same combat you’re willing to grind through, but it should be enough to please die-hard fans looking to get every last drop of what’s on offer.

At the end of the day, these superfans are really the target audience for Ultimate Alliance 3. Enjoyable as an accessible button-masher with a few friends, the real majority of its appeal comes from its epic cutscenes and dream character combos. These factors carry the game through some of its slower and more repetitive moments, so you’d best consider how deep your love of all things Marvel runs before stepping into the fray. Yet if Marvel and its heroes are your thing, you’ll find a surprising and exciting adventure here as you watch the Avengers assemble entirely within the palm of your hands.

Marvel Ultimate Alliance 3: The Black Order – Available now on Nintendo Switch.

Tags Marvel Ultimate Alliance, Marvel Ultimate Alliance 3: The Black Order, Ninja Theory, Nintendo, Nintendo Switch, The Black Order

Game Reviews

Judgment

Post author By Tydus
Post date July 17, 2019

A spinoff from the niche-yet-beloved Yakuza franchise, Judgment adds some new flavours to the classic franchise whilst never steering too far away from the series roots. Releasing some time ago in its native Japan, this PS4 exclusive quietly launched recently in the West and has been picking up traction below the radar ever since. Fans of the core series will be on-board for the familiar action and gameplay, however the new story, mechanics and design choices mean that this may be the most accessible entry into the series for newcomers. So if you’re looking to dip your toe into the franchise for the first time, or you’re just looking to add a side of sleuthing to some good old-fashioned street fights, Judgment‘s take on the mean streets of Japan may be just the thing you’re looking for.

You’ll take the role of Takayuki Yagami, a disgraced former lawyer who gets by as a private investigator in the fictional Japanese district of Kamurocho. Alongside his outcast Yakuza partner Kazuma Kiryu, Takayuki picks up small cases around town and isn’t afraid to get his hands dirty in the process. When a huge case falls into his lap involving a serial killing spree, the local warring Yakuza families and some grand conspiracies, Takayuki ends up buried deep in twists and turns. Set in the same location as the core Yakuza series, the plot of Judgment is where it begins to set itself apart from the franchise. While the former’s franchise has always had a flair for some outrageous characters, scenes and drama, Takayuki’s story feels far more grounded and intimate by comparison. It still has its crazy moments, but the narrow focus on the endearing lead character – as well as how he sees and impacts the world around him – really helps to deliver a story that keeps you invested throughout. The shorter and snappier cutscenes found here also keep things moving with a bit of pace, resulting in a shorter, tighter and more fluid overall experience than what can usually be found in the Yakuza universe.

In saying this, you’ll still find a ridiculous amount of things to do on the streets of Kamurocho. True to its roots, Judgment aims to give players a living and breathing taste of Japanese life – right down to the most monotonous and everyday experiences. When you’re not chipping away at the game’s main story, feel free to hit up the local batting cages, streetside convenience stores or alleyway bars. There’s fully realised and playable video game arcades, remote-controlled drone races and a whole friendship/relationship system waiting in the wings to keep you busy while exploring the city at any time. While the district itself is quite small compared to the open world behemoths we’re used to exploring in other recent gaming releases, Judgment‘s level of detail and sheer number of side activities mean there’s always something to do in Kamurocho. You’ll quickly become familiar with the streets and locals, with rewards awaiting those who put time and effort into cleaning up the riff-raff or otherwise lending a hand to those having a hard time.

These little side acts present a pretty wide spectrum of things for you to do – with some better than many of the others. Takayuki can sometimes find himself wrapped up in a nice little optional mystery, often with some larger-than-life characters and interesting paths to each solution. However you’ll find that many simply need you to pick an item up from somewhere or speak to a couple of people scattered across the city. These basic side offerings are fairly common, however they don’t blur together too much thanks to some interesting personalities and creative dialogue – even when said dialogue in one exchange is just the critique of a rather underwhelming cheesecake. Outside of this, many side acts, main story missions and even just casual strolls through the street will all generally lead to an all out brawl with the local thugs. You’ll quickly find that, despite Judgment‘s lead being an educated former lawyer and kindhearted investigator for the most part, he’s not opposed to straight up knocking the teeth out of a dozen armed goons at the drop of a hat.

It’s here in the brutal combat that you’ll find most of the game’s similarities to the long running Yakuza franchise. Takayuki will spend majority of his crime-solving time going hand to hand with groups of enemies, and he’s no slouch when it comes to throwing a few punches. You have access to two main fighting styles while playing, each changeable on the fly at the press of a button. The Crane style features some real acrobatic moves such as flips and spinning kicks, with its use being good for crowd control when surrounded by multiple foes. On the other hand, the Tiger style is designed more for on-on-one encounters with hard hitting combos and charged attacks. The latter option is often the go-to when you’re up against the tougher boss enemies, most of whom will be coming to the table with powerful moves that are able to semi-permanently break down your maximum health.

The action is quite often over the top, with just about everything within reach a potential weapon to break over someone’s head – plus there’s also a series of unlockable skills and moves designed to crush your enemies even harder. While still a spectacle, the combat is just about identical to the aging system used throughout the Yakuza games for many years. It’s well put together and great when you get to grips with it, but it feels less fluid and responsive when compared to games that follow the combat style introduced in Rocksteady’s genre-defining Arkham series.

When the fairly unassuming Takayuki isn’t clubbing local gang members over the head with the nearest available traffic cone, he’s making a name for himself as the district’s top private eye. The game’s detective and investigation elements are where Judgment really attempts to break away from the series that created it, and it’s also the area in which it comes up relatively short. While it does have its merits, the sleuthing angle tends to become a bit repetitive throughout the game as you perform the same segments time and again. You’ll generally have to tail a suspect or do some light eavesdropping quite often, and these will have you hiding in the shadows of conveniently placed lamp posts and road signs for some time. There are some interesting investigation sections where you’ll scan a crime scene or location for evidence and information, however these are fairly basic and can feel a bit like a speedbump between cutscenes or action segments at times. You’re offered extra experience and skill points when taking your job seriously in these areas, yet there’s never really any wrong answers or choices to be made in coming to each pre-defined solution.

The better pieces of detective work are to be found when donning disguises and talking your way through seedy areas, stopping to pick a lock or twist a few arms in order to get to the bottom of a case. Given that such a large portion of the game is spent in outrageous fights and action, it makes sense that the latter tense and dynamic detective sections feel better suited than the more monotonous and slow investigative portions. This divide will probably be the biggest hurdle for players, especially those new to the wider Yakuza series. Where the core franchise had revelled in its outrageous storylines, characters and combat, Judgment attempts to marry this approach with a grounded and measured setting. Takayuki can spend half an hour speaking with suspects and developing case files only to spend the next thirty minutes taking selfies with fast food employees or chasing down stray cats. Similarly, your dramatic courtroom argument can lose a bit of weight when you can be found beating a thug to a pulp with a steel bat outside less than five minutes later. Some may find the difference between these styles too much to get around, however those open to this dynamic will get a real kick out of the highly detailed and well-crafted experience on offer.

It should also be noted that the story and characters involved here have almost no ties to any previous Yakuza games, and thus the pre-requisite knowledge that is usually required for other entries in the complex series is gone. As an added bonus, Judgment is also the first game of its kind in many years to feature a fully voiced English dialogue option. While purists will most likely stick to the native Japanese option to better fit the characters and surroundings, the English track has been put together with a great cast and a deep level of care in translation – presenting a strong incentive for those who were still on the fence about taking a chance on the franchise.

Putting an interesting twist on a long-running formula, Judgment presents an adventure quite unlike pretty much anything else around at the moment. What other game allows you to spend the morning scanning security footage for possible suspects, the afternoon knocking teeth out of thugs on the streets, and the night hitting up a local diner for some cheap gyoza? While the detective work can grow a bit stale at times, the tight and gripping tale of crime and retribution underlying the game’s events help to keep you invested in each new chapter. Add to this a fully detailed slice of Japanese city-living, a huge number of side activities as well as a fantastic English dub and the evidence on this one is clear – Judgment is a finely crafted courtroom and you are its judge, jury and executioner.

Judgment is available now on PS4.

Tags Judgment, PlayStation, Sega

TV & Streaming Reviews

Stranger Things – Season 3

Post author By Tydus
Post date July 7, 2019

Television’s pop culture icon Stranger Things has just launched its third chapter into the world – to understandably high expectations – following the brilliant sci-fi adventures of season one and season two. We’ve followed our favourite characters through all the drama that’s come their way, and so we were all eagerly awaiting what the next instalment would bring to the table. Stranger Things Season Three succeeds in giving us all that we’ve come to love and expect from the series: brilliant interactions between its many characters, flashy 80’s nostalgia, horrifying demons and unapologetic nerdiness. Despite this however, the latest season doesn’t quite meet the impossibly high mark set by its predecessors, due mainly to some broad narrative decisions and a complicated plot that results in quite possibly the strangest season yet.

Note: While we don’t delve too deep into the finer plot details, we will be discussing key characters and high-level developments. If you’re looking to go into the season completely unaware, make sure you watch it first before reading on.

First things first, season three is intense. With a much darker and horror-focused run of episodes than ever before, this season doesn’t hold back when it comes to violence and gore. While the series has a history of some pretty hostile encounters (such as the finale of season one or the Demodogs of Hawkins’ Lab in season two), expect to see much more blood, beatings and death throughout this one. Horror has always been a key aspect of Stranger Things – the previous seasons were filled with slow-burn, high tension scares – but this time around the horror is far more in-your-face. In keeping with the 80’s charm of films like Nightmare on Elm Street and The Terminator, you’ll find the scares delivered through some nasty looking monsters and relentless chase scenes that aim to keep you on the edge of your seat. This is a refreshing direction for the series as a whole to take, proving that the show is evolving and maturing along with its characters and time period. Our leads are no longer kids playing board games in the basement and we’ve watched as they’ve all grown despite the dangers of the Upside-Down, so it only makes sense that the villains have grown bigger and more sinister as a result.

Speaking of growth, Stranger Things‘ fantastic young cast have come a long way since we last saw them. Mike (Finn Wolfhard), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin), Will (Noah Schnapp), Eleven (Millie Bobby Brown) and Max (Sadie Sink) are all firmly in their teens now, and this brings with it a number of changes to the group’s dynamic. Mike and Eleven are continuing where they left off at the close of season two, with their relationship and its effect on those around them being a constant theme throughout the season. Both young actors turn in another set of great performances this time around, with Millie Bobby Brown again delivering another stand-out performance as the complex Eleven. Like Dustin and Steve (Joe Keery) last season, we get a great new pairing between Max and Eleven as the two girls form a strong duo in what was originally an all-boys club.

With even Dustin managing to (apparently) find love while away on summer camp, this all leaves Will feeling isolated and separated from the core group – even more than usual. Schnapp’s character has less of a central role here compared to prior seasons, however he still does great work in showing the audience just how far the group has come while simultaneously longing to gain back the time he’s lost to the Upside-Down. Season three goes hard on the aspect of growing up and moving on, so it makes sense that each of the kids begin forging their own paths – ultimately weakening the tight-knit brotherhood we’ve come to know and love in the process.

Our other Hawkins favourites have also been busy during the break, with some faring better than others. Joyce (Winona Ryder) continues to mourn her loss from the most recent Hawkins’ disaster, managing to keep her mind occupied by looking into some strange occurrences around town during the summer. Ryder is an absolute gem here as always, and is able to deliver some powerful scenes which really highlight her growth over the course of the show. While she does play the curious, conspiracy-theorising single mother well, her character spends a large portion of the season following some highly questionable breadcrumbs and jumping to conclusions that seem far-fetched, even by her standards. While this has been done to keep the plot moving and give her something to do, it’s hard not to notice that Joyce has very little stakes in the game this time around. Without any real motive or genuine urgency, her story arc can almost feel a bit watered-down at times.

Police Chief Hopper (David Harbour) is again along for Joyce’s ride, if only as an excuse to spend more time with his not-so-secret crush. Harbour reprises his role as the iron fist of Hawkins, playing him harder and more aggravated than usual this season, and he spends most of his time taking the law into his own hands and knocking some heads together. Even though he plays something of a brute for majority of the show, Hop does get a chance to show some raw emotion in the scenes he shares with Joyce and his adoptive daughter Eleven. It’s a good thing that both Harbour and Ryder continue to have such great chemistry, as their charm is what carries us through some of the more far-reaching sections of the plot.

While his mother is off with Hopper, Jonathan (Charlie Heaton) begins interning at the town’s local newspaper – the Hawkins Post – alongside his now-official girlfriend Nancy Wheeler (Natalia Dyer). Dyer’s character struggles to make a good impression in the male dominated workplace, and this drives an interesting arc for her and Jonathan as they aim to break a big story that will put her critics in their place. It’s all well and good until their plot-line is completely tossed aside when something bigger comes along, and is never spoken of again.

Similarly, Nancy’s mother Karen (Cara Buono) is given much more to do at the start of the season than ever before, looking set to lift her character into a more prominent role alongside the other leading names. However her storyline is also left by the wayside before too long, and her very minimal appearances later in the season have her revert to the oblivious housewife she played in season one. While these characters are still fantastic and a joy to watch throughout, their individual story arcs highlight the general plot issues with this season. While the show has previously managed to organically link the narrative threads of its characters neatly in time for the finale, season three appears happy to cut ties with loose ends in order to hit certain story beats for the central and, quite frankly, farfetched plot-line.

Without spoiling too much, Stranger Things Season Three plays heavily on the 80’s hysteria of the threat of Russian invasion. The show attempts to shake things up by moving away from the usual US government conspiracies, however in doing so it loses much of its plausibility and logic. Whilst a fictional sci-fi adventure riddled with psychic powers, alternate dimensions and nightmarish monsters doesn’t exactly scream believability, Stranger Things has always been grounded when it came to actually delivering these stories. However the Russian angle is never really explained at all, and what the audience is expected to believe has been done by the foreigners in the space of a year is pretty outrageous.

Thankfully the majority of scenes on this side of the plot are carried by the brilliant ongoing pairing of Dustin and Steve, along with a couple of new companions. Steve has recently started working in an ice-cream store in Hawkins’ new Starcourt Mall, alongside former classmate Robin (Maya Hawke). Hawke is a great new addition to the cast, and she plays another strong, smart and layered character that has great chemistry with Keery and Matarazzo. Rounding out this group in season three is the left-field addition of Erica (Priah Ferguson), Lucas’ wildly outspoken younger sister who briefly appeared in previous seasons to spit fire on her brother and his friends. The young Ferguson is great in her role as the no-nonsense character who knows exactly what she wants, and the group of four are more than enough to keep each episode afloat – even when they’re dealing with what may just be the most bumbling and useless military unit we’ve ever seen.

Rounding out the cast of season three is Dacre Montgomery, who returns as Max’s step-brother Billy Hargrove, easily receiving the most development of any of the show’s characters this year. Having relatively minimal screen-time, yet an important role in season two, he becomes centre to many of this season’s events and a person of interest for most of the cast. Montgomery does excellent work in bringing the conflicted Billy to life once again – especially when he’s conveying the fluctuating emotions and actions that his role demands. We’re shown quite a bit more of the troubled character’s motives through some haunting interactions with Eleven, as well as through his relationship with step-sister Max, which has been greatly expanded following season two.

It’s also around Billy that we see much of the show’s phenomenal special effects work and monster designs, with the growing budget and resources being put to good use here. The creatures on show look like modern day adaptations of the ugliest monstrosities from 1982’s The Thing, and the grand finale is just as flashy and explosive as we’ve all come to expect. In ending the season with such a bang – as well as with some reflective and touching closing moments – season three does come some way in redeeming its fairly average central plot, and it helps to remind us that Stranger Things is first and foremost about its brilliant characters, their complex relationships and the bonds that tie them all together.

The third instalment of Stranger Things is ultimately another wild ride with our favourite Hawkins characters, weaving a compelling sci-fi tale while revelling in 80’s nostalgia and monster movie madness. While areas of the plot certainly require some grand leaps of imagination and logic, the darker tone and ongoing relationships between the talented cast have made the Duffer Brother’s latest outing a success. It’s almost certain that we’ll see a fourth chapter in the Stranger Things story, and at this point all we can do is wait and see where the next one will take us. With an ensemble of characters larger than ever before and a willingness to take the series to dark new places, Stranger Things Season Three has proven that it’s not afraid to challenge our expectations – and that it’s still the toughest kid on the block.

Stranger Things Season Three stars Winona Ryder, David Harbour, Millie Bobby Brown, Finn Wolfhard, Noah Schnapp, Gaten Matarazzo, Caleb McLaughlin, Dacre Montgomery, Joe Keery, Natalia Dyer and Charlie Heaton – streaming now on Netflix.

Tags Caleb McLaughlin, Charlie Heaton, Dacre Montgomery, David Harbour, Finn Wolfhard, Gaten Matarazzo, Joe Keery, Maya Hawke, Millie Bobby Brown, Natalia Dyer, Netflix, Noah Schnapp, Stranger Things, Winona Ryder

Game Reviews

Marvel’s Spider-Man

Post author By Tydus
Post date July 5, 2019

The amazing Spider-Man has seen his fair share of video game outings in the past. With powers and stories that lend themselves perfectly to some playable action, we’ve seen a wide spectrum of offerings spanning back a couple decades. When in the right hands, these games are absolute gems of open-world sandbox design and dynamic combat. When they’re not done so well, we’re given linear movie cash-ins with clunky controls that feel outdated even at launch. But when Marvel announced that they’d be teaming up with Insomniac (legendary creators of Ratchet & Clank and Spyro the Dragon) to produce the latest entry in the series, we knew that we were in for something special. So it came as no surprise when the game became a roaring success, lifting the web-slinger to even greater heights last year while proving that Marvel can work their magic both on and off the silver screen. One year on and with Spidey’s latest adventure hitting cinemas this week, we couldn’t help feeling the urge to step back into his shoes once again in Marvel’s Spider-Man.

Opting to avoid telling yet another rehash of the hero’s origin story, Marvel’s Spider-Man chooses to follow an experienced, established Peter Parker in a time long after that infamous spider bite. This decision gives Insomniac free reign to craft their own interesting and all-new story, without being bound by the expectations of players and fans. The plot fires up pretty quickly, with you taking control of the titular hero on the way to a siege in the middle of the city’s business district. This opening acts as a pretty intense tutorial for the game’s combat, and the resulting arrest of underworld boss ‘Kingpin’ also serves as the start of the story’s big events. Taken away in cuffs, Kingpin warns that removing him from the scene will send the city into total chaos – and we learn he was right pretty quickly. From there, you’re thrown straight into the sprawling streets of New York just as crime on the streets really starts to dial up.

Firstly – let’s talk about the incredible open sandbox world. There’s a crazy amount of detail in everything from the design of different buildings, pedestrians walking the sidewalk, traffic at Times Square and even the greenery of Central Park. The world really feels alive, and you can easily lose hours exploring all of the city’s secrets and nods to the Marvel Universe. Want to climb to the top of Avengers tower? Go for it. The office of legal duo Nelson & Murdoch from Daredevil? It’s there. You can even track down Uncle Ben’s final resting place if you like, where Peter will offer up a few words as you pass by. There’s obviously so much history to draw from when it comes to Spider-Man alone, so it’s a feat that the game manages to work in so many references to the wider Marvel Universe as well. Fans will be hunting down the game’s countless hidden extras and collectibles – most having direct ties to comics or Spidey lore – however there are also rewards designed to draw in other players such as new suits, upgrades and helpful gadgets. Having exploration directly reward your skills and abilities is a huge plus, and you’ll need some boosts for all the scraps you’re likely to run into.

Zipping up to higher ground is a totally viable option in any fight, and it is recommended for some of the tougher ones. Stay out of sight long enough and you can start working with the game’s solid stealth mechanics. More fleshed out and useful than it has been in any other playable Spider-Man entry, stealth will allow you to knock out a number of enemies without breaking a sweat. You’re able to string up enemies when perched above, silently knock them out when sneaking from behind or surprise them with a well placed gadget trap. Most scenarios will generally descend into fisticuffs, but the option to play the stealth card is almost always worth the effort – plus there are a number of suits, gadgets and upgrades that lend a hand to this approach. Where you will see it used the most is during a number of the main story missions, generally when infiltrating well-guarded buildings and hideouts. What is slightly surprising here is that a number of these sections are not led by the headlining hero at all – instead moving you into the shoes of series regulars Mary Jane Watson (MJ) and the young Miles Morales. MJ is an investigative journalist who isn’t afraid to get her hands dirty to get to the truth, and so playing as her often means sneaking through some unsavoury locations for a big piece of evidence. With his sections playing pretty similarly to MJ, Miles also has a bone to pick with some of the city’s underworld and he finds himself helping Peter and MJ bring the city back under control. Splitting the focus onto these other characters is an interesting move that really pays off, giving players a grounded perspective in what would otherwise be another larger-than-life superhero tale.

This perspective is also noticeable during the numerous sections where you’ll play as Peter himself, without the red tights and mask. The relationship between Peter and Aunt May is fully fleshed out, and her relevance to the unfolding events of the plot means you’re invested as Peter struggles to play hero and devoted nephew at the same time. The other major relationship at play is between Peter and his science mentor Otto Octavius. Working in a lab together designing high tech prosthetics, the resolute and seemingly level-headed Octavius is very proud of his talented protégé, with the two having a close bond that is explored over the course of the story. Even those with only a passing knowledge of Spider-Man lore will have an idea of how this eventually goes, but the path to that point has never been told in the way it has been here. A number of other familiar villains make an appearance throughout the game, however a few of these boss fights can become somewhat repetitive and uninspired when you’re not buried in the spectacle of it all. A few will simply boil down to throwing lumps of debris at the boss until they go down, while others rely heavily on quick time events and button prompts again and again until the fight is over. Some are a bit more creative, with one blending stealth and strategy together for some tense results and another playing very similarly to the fantastic Scarecrow segments from 2009’s Batman: Arkham Asylum. Thankfully the final few battles see the adventure go out with a bang, deftly weaving big story moments with frantic, edge-of-your-seat gameplay.

If you’re still craving more outside of the admittedly deep and lengthy story already on offer, Insomniac have also put together a number of DLC scenarios to keep the adventure going. Further exploring some of the characters and relationships introduced during the core game, these extras provide a great reason to return to the Big Apple – featuring some nice bonuses and challenges for those interested. Otherwise there’s a nice little new game plus feature that was added after launch, allowing players to roll back through the campaign with all their gear and skills intact. Maybe you’re looking to find every collectible backpack hidden across the city, or perhaps you could try your hand at fighting through each optional gang hideout or Taskmaster combat challenge. It could just be that you feel like soaring through the skies of the city at top speed, brushing past skyscrapers as you launch from one web to the next. When a game has been made with as much care and detail as this has, any excuse will do.

Perfectly capturing what it feels like to be a superhero, Marvel’s Spider-Man is leaps and bounds above what we’d often expect from a game tied so closely to a movie franchise. With an original story that rivals that of its big screen counterparts and gameplay that stands tall amongst other modern playable adventures, we’ve been given a fantastic Spidey outing that is as much a love letter to fans as it is a finely crafted and challenging experience. Whether you’re planning to dip your toe in for the first time – or you’re just thinking of a revisit to scratch that web-swinging itch brought on by recent big screen showings – there’s never a dull moment when you step into the shoes of everyone’s favourite friendly neighbourhood Spider-Man.

Marvel’s Spider-Man is available now on PS4.

Tags Insomniac, Marvel's Spider-Man, PlayStation, Spider-Man

TV & Streaming Reviews

Stranger Things – Season 2

Post author By Tydus
Post date July 3, 2019

The second season of Stranger Things had some high expectations leading up to its release. Following the runaway success of the first season was always going to be a challenge, but the young cast and the Duffer Brothers managed to pull off another home run on their second outing. In reaching the seemingly impossible heights set by its predecessor, Stranger Things Season Two provides another chapter of one of the finest and well written sci-fi offerings on TV. So with the hotly anticipated third season releasing in time for this weekend, there’s never been a better time to make sure you’re all caught up on everything that’s gone down in Hawkins.

Series two begins a year after the conclusion of the last, with everyone adjusting to normal life again after their chaotic search for Will Byers (Noah Schnapp). The four leading lads have returned to school, however it’s quickly obvious that things aren’t quite the same. Mike (Finn Wolfhard) is still struggling to move on after losing his psychic companion Eleven (Millie Bobby Brown), who hasn’t been seen since the closing battle of Season One. The friction this creates between him and the other characters is an underlying theme for most episodes of this season, especially as it seems his friends were able to move on much quicker than he has been able to. His combative nature and defeated attitude does tend to wear a bit over time, however Mike isn’t as central this time as he was in the opening season – allowing the fantastic supporting cast a chance to shine as well. For instance, Will picks up a much larger amount of screentime this time around, given he played a lost victim for just about all of the show’s first outing. His transition back into normal life is certainly the hardest, as he tries to slip back into a community that pronounced him dead not too long ago. Will also suffers from intense flashbacks and dark visions of the Upside-Down – a consequence of his time lost on the other side. Noah Schnapp’s character certainly gets put through the ringer this season, however his great performance and full range of believable emotion is just another example of the top-level talent within Stranger Things’ young cast.

That’s not to say that the more experienced actors are lacking here though. Winona Ryder reprises her role as Will’s mother Joyce Byers, somehow hitting a new level of protective parenting after the events of season one. While her actions can come off as pretty overbearing at times, you can’t help but feel as if it’s warranted after all she went through to get her son back a year prior. To this end, Joyce and Will continue to make visits to the Hawkins’ Lab in order to monitor his condition – and to keep the lab central to the overall plot running through this second season. Balancing Joyce’s stress out slightly is her old classmate and new lover – the ever-pleasant Bob (Sean Astin). Astin’s character is almost an antithesis to the entire show, shying away from scares and Hawkins’ rough nature to instead be the calm and placid rock Joyce desperately needs. It makes sense then that Joyce continues to rely on the gritty and no-nonsense police chief Jim Hopper (David Harbour) to help her and her son for much of the season. Harbour puts on another stellar performance as he did in the show’s first outing, given some great scenes to flex his acting and emotional chops. Season two places Eleven in Hopper’s care, with Jim quickly becoming a surrogate parent to the wayward teen – seeing in her the daughter he’d lost years ago. Hopper attempts to give Eleven a normal childhood whilst being acutely aware the danger she in at all times while Eleven, for her part, is trying her best to slip into everyday life which, naturally for a teenager, includes some pushback against the authority figure. It’s this kind of innately human everyday situation, spiced with a healthy dose of government conspiracy and mental powers that makes the dynamic between the two so fantastic and infinitely watchable, and the duo represents just one of the second season’s unlikely – yet hugely successful – character pairings.

It’s impossible to talk about this season’s teamups without mentioning the dynamic duo that is Dustin (Gaten Matarazzo) and Steve (Joe Keery). Having next to nothing to do with each other in the previous year, the two certainly aren’t the first characters that audiences were expecting to see pairing up this season – but the two just work. There’s some sort of younger/older brother vibe that the duo tap into, with Keery’s character acting as a mentor to the younger Dustin – when the two aren’t trading insults and banter at every other opportunity. When he’s not parading around Hawkins with his charismatic offsider, Steve acts as one third of the ongoing love triangle between himself, Nancy (Natalia Dyer) and Jonathan (Charlie Heaton). Dyer and Heaton offer up another great turn as their respective characters, torn between their feelings for each other, the plights of their younger siblings and Nancy’s mission to avenge the death of a friend lost during season one. A strength of this season is certainly the increased screentime it allows for these characters, shifting focus from the core young cast to create a number of intertwining and interesting stories that stand strong in their own right.

This broader approach also opened the doors for some new characters to shake things up this season – namely red-headed skater Max (Sadie Sink) and her older step-brother Billy (Dacre Montgomery). The two enter the scene after moving with their newly married parents from California, and both have big impacts on the characters and events across the season. Max quickly catches the interest of Dustin and Lucas (Caleb McLaughlin) with her high arcade scores and fierce attitude, creating some competition between the two boys as they do their best to catch her attention. Her attempt to slide into the core group creates tension between the existing members, which in turn provides for some dramatic confrontations and fractures within the team alongside their bigger problems. Max’s initial stand-offish nature comes back to her tenuous relationship with new step-brother Billy Hargrove. Billy is a few years older than Max, and quickly begins a move to knock Steve off of his perch as alpha at Hawkins’ High. Australian actor Dacre Montgomery does fantastic work as this complex character, capturing all the worst archetypes of young guys in the 80’s as his womanising, racist and narcissistic personality clashes with just about everyone he meets. A character that you’ll just love to hate, Billy’s behavior is explored a little during the later episodes of the season – not long before a standout scene between him and Mrs. Wheeler (Cara Buono) in the final episode.

It’s strength to strength for the most part on the road to the terrific finale, however there is one episode that is particularly divisive. During the second half of season two, an entire episode is devoted to Eleven and her past – with mixed results. While an interesting look at her powers, family and mysterious history, the way that the show presents these isn’t done particularly well. Introducing a number of new characters solely for the episode, it feels like a big mix of ideas that don’t quite gel together or produce anything noteworthy. We’re presented with a group of generic punks, each feeling like they were pulled from an afternoon cartoon show, led by a slightly unhinged girl that has powers similar to Eleven. A connection between the two is clumsily put together through flashbacks, despite there being no other reason for the new girl and her group to exist at all. While the episode is somewhat necessary for Eleven to grow as a character and develop her powers, it feels as though it could have been done in multiple better ways that wouldn’t have felt so out of place. Luckily the episode comes and goes before the main plot ramps up into the finale, however it still creates a bit of a speedbump for an otherwise fantastic run of episodes.

Outside of this, the road to the finale follows a similar path as the first season – reuniting our favourite characters for some great battles and emotional scenes. There’s a sense of urgency that runs beneath each episode, hooking you into every interaction as just about every scene plays a part in the grander scheme of things. This is achieved once again through two of the Duffer Brother’s biggest strengths – strong writing and smart characters. No matter how difficult the puzzle or complex the solution, characters always connect the dots as quickly and as logically as we would expect them to. There are never moments where someone inexplicably sits on key information just to stretch out the runtime, with the cast often developing a plan or solution that we as viewers had yet to even consider. This approach means that we’re constantly surprised and excited for the next moment, a design that’s perfect for the show’s bingeable Netflix design.

Stranger Things Season Two manages to raise the standards raised by the first, and in doing so it manages to create new, interesting characters and engrossing plotlines that flesh out Hawkins as its own little world. An outstanding cast and top-quality direction from behind the scenes come together to deliver several hours of gripping sci-fi drama, cementing the series as one of the greatest on modern TV. We don’t have long to wait until season three arrives to pull us through the Upside Down once more, and who knows what they’ll spring on us this time. New monsters? More characters? Joyce’s third attempt at some offbeat interior decorating? We don’t know yet, but if the past adventures in Hawkins are anything to go by – we’re in for something good.

Stranger Things Season Two stars Winona Ryder, Millie Bobby Brown, Finn Wolfhard, Noah Schnapp, Gaten Matarazzo, Caleb McLaughlin, Joe Keery, Natalia Dyer, Charlie Heaton and David Harbour – streaming now on Netflix.

Tags Caleb McLaughlin, Charlie Heaton, Dacre Montgomery, David Harbour, Finn Wolfhard, Gaten Matarazzo, Millie Bobby Brown, Natalia Dyer, Netflix, Noah Schnapp, Sean Astin, Stranger Things, Winona Ryder

Game Reviews

Crash Team Racing: Nitro-Fueled

Post author By Tydus
Post date June 27, 2019

The 90’s nostalgia run we’ve been living in for the past couple of years continues this week, with the release of Crash Team Racing: Nitro-Fueled. A ground-up remake of the 1999 PSOne original, Nitro-Fueled has given the source material a fresh coat of paint, some new characters, more tracks and a bunch of modern features. Yet just below the surface lies the same frantic, tight and addictive kart racer that most of us remember playing on our old TVs two decades ago. Crash Bandicoot is back in a big way, and he’s running laps around the competition.

The original Crash Team Racing was an interesting idea at launch all those years ago. Following the genre-defining original Crash Bandicoot trilogy, fans were a bit hesitant when series creators Naughty Dog announced that their 4th (and ultimately final) Crash adventure would be a kart racer. CTR proved to be an absolute hit however, becoming a big fan-favourite that had us all wondering why it hadn’t been done sooner. The colourful racer had it all: a full adventure mode, couch multiplayer, a bunch of well designed tracks and some of the best racing mechanics seen at the time. The instantly recognisable characters and the fact that Sony’s console had little in the way of similar racers also didn’t hurt CTR‘s rise to glory. Fast forward 20 years, and there’s no question that Nitro-Fueled is absolutely brimming with nostalgia. There’s been so much attention to detail throughout – from the remastered soundtrack through to the perfectly recreated racetracks – and it’s hard to imagine any fan of the series arguing that the remake hasn’t been tuned to perfection.

Aiming to be more than just another faithful nostalgia trip, CTR‘s character roster and track list have both been greatly expanded, thanks in part to some additions from 2003’s Crash Nitro Kart. These extras are a nice little bonus and bring some variety to what we’d otherwise expect from a remake. You’re also able to customise the look of any driver or vehicle, with hundreds of options to unlock using coins earned through racing through any of the game’s several modes. Characters and karts aren’t the only things that look a bit different however, as you’ll notice that the biggest change is in just how fantastic everything looks this time around. All of the tracks and locations glow with colour and detail, each with the exact same design as the original but now so much nicer on the eyes. Some cool new ideas have been put into the remake’s tracks as well, such as hidden extras and recognisable details in the background for keen-eyed fans of the series. The care and detail that has gone into every course is fantastic, but it’s important to note that the general mechanics and layouts of each track are unchanged. Each race is still won or lost based on your ability to nail every corner, track down the best shortcuts and turbo boost your way to the front.

Mastering these elements is more important in CTR than it is in many other casual kart racers, as big power-ups and weapons are far less likely to score you an easy win. That being said, there are a number of items that can be used to keep you in the race, such as homing missiles, explosive crates and invincibility masks. These can be effective when used well, however their impact is generally pretty minimal. Even when hit by an explosive or hazard, racers generally maintain their momentum and roll out of damage very quickly. This means there’s less reliance on random pickups and more on building your skills with each character and track – plus it helps to keep each race flowing with a decent pace when you’re not constantly stopping and starting. On top of this, it won’t take long for you to learn that the real key to victory in CTR is through its speed boost system – something that you’ll want to get your head around as soon as possible. With an easy to use, difficult to master powersliding mechanic, you’re able to trigger a shot of speed at just about any point on a course. Getting the most out of each turn takes some practice and timing, but it becomes second nature quickly and is an absolute must when racing online or within the later sections of CTR‘s quality adventure mode.

While admittedly being a cool and fun concept in a racing game, the plot of this single-player adventure offering is fairly barebones. It plays out with hothead alien Nitrous Oxide arriving on Earth looking for some worthy competition, quickly threatening to obliterate the planet if Crash and the team are unable to beat him. It’s up to you to race across every track in a number of different zones – ultimately proving that you’re the competition worthy of taking Oxide down. While the plot remains unchanged from the 1999 original, Nitro-Fueled allows you to switch your character at any time throughout the adventure – a big plus as most drivers will have their own strengths and weaknesses on each track. You can also try your hand at a few additional challenges for each course, such as collecting hidden items or beating the clock with some insane lap times. Once you’ve knocked out every race in an area, you’ll have won your chance to take on one of the game’s multiple bosses. These returning enemies from the first few Crash games are pretty brutal, challenging you to a one-on-one race where they have limitless weapons and ridiculous speed. The idea is to knock the boss down in order to overtake them, then hold them back with items long enough to cross the finish line – a task that’s generally easier said than done. The whole process repeats a few times on the way to the story’s end, with the adventure ultimately being a short but cool feature not generally seen in other games in the genre.

Once you’re done with the single-player mode, Nitro-Fueled becomes all about the local and online multiplayer side of things. Online races are available right out of the box, but be warned that there’s some tough competition out there. Fans of the original have been clamouring for a chance to race those around the world for years now, so it’s worth really nailing the tracks and mechanics first if you’re looking to take out the top spot. This mode really is where CTR will shine after release, so it helps that Activision have announced an ongoing schedule of free extra content – with the game set to receive a number of new tracks, racers and customisation items over the next few months. They even have Spyro the Dragon joining the roster in September, just in case this game hadn’t already won over every 90’s kid.

Catering to both the long time fans and an entirely new generation of players, Crash Team Racing: Nitro-Fueled proves that Crash can really do no wrong now that he’s back on the scene. With the perfect combo of nostalgic charm and rock-solid racing design, the game is great for a casual house party or a super competitive match between top players (and everything in between). The game marks CTR‘s triumphant return after a 20 year absence, and with very little decent competition to match it, it’s shot straight to first place.

Crash Team Racing: Nitro-Fueled is available now on PS4, XBOne & Nintendo Switch.

Tags Activision, Beenox, Crash Bandicoot, Crash Team Racing, Crash Team Racing: Nitro Fueled, Nintendo Switch, PlayStation, Xbox