Category: Reviews

Annabelle Comes Home

Post author By Mark
Post date July 3, 2019

Annabelle Comes Home is an interestingly placed film in the Conjuring universe. It serves as a convergence of the Conjuring film series and the Annabelle spin-off films – the Avengers of this shared universe, if you will. On paper the premise sounds dynamite: Annabelle the evil doll joining forces with all the other cursed nasties in the Warren’s (the demonologists from The Conjuring) artefact room to wreak havoc. However what we’re ultimately presented with is a hodge-podge of random scares and disjointed, half-baked premises that ultimately don’t go anywhere. It’s not the worst film in the Conjuring universe so far, but it’s certainly not up to the standard of the main series films or 2017’s excellent Annabelle: Creation.

The spin-off opts for a more contained story than the mainline Conjuring films, isolating the action almost entirely to the Warren’s house. When Ed (Patrick Wilson) and Lorraine (Vera Famiga) Warren go away for a weekend they leave their daughter Judy (Mckenna Grace) in the care of babysitter Mary Ellen (Madison Iseman) and her uninvited friend Daniela (Katie Sarife). Daniela has recently lost her father, and enters the Warren’s artefact room in an attempt to contact the spirit of the deceased patriarch, unwittingly unlocking Annabelle and the evil spirit within. From here we have ourselves a movie as Annabelle proceeds to take control of every haunted item within the room, turning this laid-back weekend into a fight for survival as the three girls are haunted by a variety of demonic entities.

The films in the Conjuring universe up to this point have largely stuck to a serious tone, foregoing jokes in favour of intense scares and creepy narratives that always keep you on your toes waiting for the next big scare. Annabelle Comes Home breaks from tradition here by playing with a fun, haunted house atmosphere. It is a different tone, choosing to focus on the craziness of multiple monsters and demons stalking and toying with their victims in an enclosed space rather than the mental terrorism inflicted by the demons in the other Conjuring films. With this lighter tone comes a greater focus on comedy, with an entire subplot dedicated to a potential love interest for Mary Ellen, which varies between reasonably funny and downright awful. The character of Bob (Michael Cimino), also known as “Bob’s got balls”, handles the brunt of this humour and the movie, quite frankly, thinks he’s a lot funnier than he actually is. There’s only so many times you can make the same joke about a timid, harmless guy who is surprisingly useful during a demon attack and the character quickly becomes grating. His awkward encounters with Mary Ellen are irritating rather than endearing and the running “Bob’s got balls” joke is overused without ever actually being funny. It’s a self-referential wink to Bob’s arc and his later relevance to the plot which comes across as the writers thinking it’s more clever than it really is.

This leads in to another major problem with the film: pacing. The only way to describe the first 45 minutes is glacial with barely a scare to be found within it. It’s all an excruciatingly long setup for the events to come, introducing us to these three main characters and showing us the layout of the house. Whilst overly long, the film does a good job making sure we know the entire layout of the house, which will soon become a prison for the characters. I always knew where everyone was in relation to the other humans and monsters, which makes it far spookier when parts of the house change as the demons start to emerge. Speaking of monsters, there are plenty to choose from here, all controlled by the demonic entity that inhabits Annabelle, and that is really the biggest issue with Annabelle Comes Home. There’s no development given to these other demons, therefore no reason to be scared of them other than their looks or because they’ve arrived as part of a loud jump scare. The most we get is character’s reading portions of case files on a few of the more prominent creatures, however it doesn’t mean much when the histories being described sound more interesting than the film you’re watching. The Conjuring 2 is a perfect example of well developed scares: we spend time with the family being haunted and come to understand their dynamic and they way they are being haunted. This attachment to the characters means we actually care and empathise when the scares start and what scares our characters scares us too. Here, the characters just aren’t developed or likeable enough and make some downright stupid decisions.

The horror genre isn’t exactly known for its acting talent with the rare exception here and there. In the mainline Conjuring films, Patrick Wilson and Vera Farmiga were exceptions, giving well rounded, believable performances as real life demonologists Ed and Lorraine Warren. There was much hype surrounding their return for the third Annabelle film but if you were one of those people excited to see them kicking ghost butt, you might want to temper your expectations. The film is laser focused on their daughter, using the elder Warrens as a framing device to tease the horror she is about to face. McKenna Grace is the star here, at just 13 years old, she carries the film, giving a performance that is incredibly mature for her age, as a child living with intense bullying due to her parents occupation who also happens to have her mother’s gift of seeing undead spirits. She’s the most capable of the three girls at handling the situation unfolding, which can be a little unsettling considering if in the same situation most people would sit down and simultaneously cry and wet themselves. Madison Iseman’s character Mary Ellen is just about as boring and stereotypical as you can get when it comes to Final Girls. She doesn’t have a whole lot to do other than console Judie and Daniela and scream, and she does what she can but the role is ultimately just bland with some truly awful dialogue at times. Her chemistry with Michael Cimino, who plays Bob, is non-existent and seems like something of an afterthought to give the character some kind of subplot. The final member of the trio is Katie Sarife’s character Daniela, who has the most complete arc of all the characters, which stems from her guilt over the death of her father. Whilst she can be extremely annoying at times and her decisions often don’t make any sense, there’s a vulnerability to her character and her motivations are innocent, even if she causes one hell of a night.

Annabelle Comes Home is ultimately a disappointment and sits in the middle of the pack of Conjuring universe films. An interesting premise is wasted on weakly written characters and scares that ultimately feel bland and unwarranted. The lack of development of any of the key monsters renders them useless when it comes to frightening audiences other than the occasional jump scare. The Conjuring and Annabelle franchises have been better than this – here’s hoping they can regain their quality.

Annabelle Comes Home stars McKenna Grace, Madison Iseman, Katie Sarife, Michael Cimino, Patrick Wilson & Vera Farmiga – In cinemas now.

Tags Annabelle, Annabelle Comes Home, Conjuring, Madison Iseman, McKenna Grace, Patrick Wilson, Vera Farmiga

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

Movie Reviews

Spider-Man: Far From Home

Post author By Mark
Post date July 2, 2019

Tom Holland’s Spider-Man has come a long way. From the first time he swung into frame in Captain America: Civil War to say “Hey everyone”, audiences knew there was something special about his interpretation of the character. Holland has continued to prove himself as the best actor to pull on the red and blue tights, nailing Peter Parker’s internal conflict that comes from balancing crime fighting and schoolwork, and the character’s development through his solo film and the previous two Avengers films has been one of the strongest points of the MCU. With Spider-Man: Far From Home,returning director Jon Watts is able to craft a solid, imperfect conclusion to this Spider-Man arc which nails the character of Peter Parker and the acrobatic action he brings to the table, but also gets bogged down at times by some odd character choices and pacing issues. Just in case you’ve been living under a rock and are one of the three people who haven’t made it out to see Avengers: Endgame, a warning: spoilers lie ahead.

Peter Parker has been having a rough go of it lately. After being dusted and effectively wiped from existence in Avengers: Infinity War and revived five years later, the youngster is having a tough time readjusting to life post “Blip” – the name given to Thanos’ snap. A relaxing summer European vacation with his classmates is the perfect opportunity to hang up the spider-suit for a while and spend some quality time with his crush MJ (Zendaya). Peter, and the world at large, is struggling with the recent death of Iron Man and the fracturing of the Avengers as a result. A great amount of pressure has been placed on Spider-Man as Iron Man’s replacement, a problem which is only exacerbated when Nick Fury (Samuel L. Jackson) highjacks Peter’s school trip in order to help Quentin Beck (Jake Gyllenhaal), also known as Mysterio, defeat a new world-ending threat – Elementals: physical embodiments of earth, wind, fire and water who destroy everything in their path. Peter soon finds his priorities divided between living a normal life with his friends and getting the girl and rising to the challenge to help Fury and Beck, taking Tony Stark’s place in the process. After the earth-shattering events of Endgame, the story here feels comparatively smaller, a more intimate film that is less about world-ending catastrophes than it is about exploring the psyche of Peter. It takes a little time to get used to the smaller stakes here but, much like last year’s Ant-Man and the Wasp, it is refreshing antidote to Endgame and a nice way to close out phase three of the MCU.

The strongest aspect of Far From Home is how it handles Peter’s personal struggles following the death of Iron Man. Not only has he lost a true friend and mentor, but he’s also lost his way in terms of being a superhero, opting to step away from the limelight and just be a kid for a change. The film really zeroes in on the responsibility placed on Peter and how he handles it; he is presented with challenge after challenge – making some missteps along the way – on his way to deciding where his future lies. Some of these missteps, which I won’t get into to avoid spoilers, are handled better than others, with a few moments leaving audiences scratching their heads as to why on earth Peter made that specific choice. Sure, you could chalk it up to him being a teenager, but doing so robs Spider-Man of the intelligence that is inherent to the character. With Iron Man’s death Peter is subconsciously searching for another mentor to put his trust in and to guide him with his choices. Enter Jake Gyllenhaal’s Mysterio, who Peter develops a bond with as they fight the Elementals together. Holland and Gyllenhaal have great chemistry together, clearly influenced by their real life friendship, and watching the characters develop their bond is one of the highlights of the film. Gyllenhall plays the role of Quentin Beck with a confidence and bravado that attracts Peter, qualities that make him a surrogate in Peter’s eyes for the late Tony Stark. It’s an interesting plot thread to pull on; watching Peter doubt himself and desperately search for guidance when Tony believed he was the one to carry the torch going forward.

In addition to exploring Peter’s internal mental struggles, the film also mixes in a healthy dose of romance with the burgeoning relationship between Parker and MJ. It’s a fun plotline which helps to emphasise the kind of normal life that Peter longs for, a life that is constantly hindered and kept out of his grasp by his responsibilities as Spider-Man. MJ is given a much more fleshed out role this time around and Zendaya revels in playing the odd, socially awkward teenager. The random truth bombs and scathing retorts she fires off are always hilarious and she is by far the best of the younger cast in the film outside of Holland, who also dials up the social awkwardness in his exchanges with MJ. It’s almost too hard to not turn away and cringe at some of the dialogue and it really works to make the characters feel like kids finding their way to expressing their feelings for one another. This rom-com storyline adds a fresh layer to the average Spider-Man adventure, with past films often playing the romance much more seriously, highlighting the depressing aspects of Peter pining for MJ’s affections. Far From Home is first and foremost fun, and it goes a long way in investing you in the characters and their predicaments.

When Homecoming was first released people were excited for the first time to actually explore Peter Parker’s adventures in high school. The Maguire and Garfield Spider-Man films were also set in high-school but they never really took advantage of the setting or the simple but engaging premise of balancing school and hero fighting. (Add to that the fact that both Maguire and Garfield both looked like they hadn’t stepped foot in a school in twenty years). Homecoming was the first Spider-Man film to really live in that school environment and as such, brought a host of other teenagers in to occupy Peter’s world, including best friend Ned (Jacob Batalon), bully Flash Thompson (Tony Revolori), and classmate Betty Brant (Anjourie Rice). They all worked wonderfully in Homecoming where the stakes were comparably lower and at a more “friendly neighbourhood” level, but in Far From Home these characters become too much at times. They’re all played wonderfully and it’s understandable wanting to bring them back after how well they were received before but it almost always slows the pace of the film when we cut away from Peter’s adventures to check in with them. The film works best focusing on Peter and if these characters are taking away from his screentime and distract from the main plot then it might be time to jettison a few. That being said, I could watch an entire film of Martin Starr’s character Mr. Harrington struggle through literally every situation he is put in, with a can-do attitude and no luck in life whatsoever, he is hilarious and steals almost every scene he is in.

Spider-Man: Far From Home is a film which, like Peter Parker, has an enormous responsibility on its shoulders as the first MCU film to follow Avengers: Endgame. It largely lives up to the task, providing a fun, engaging Spider-Man story that explores one of the character’s oldest struggles: deciding whether to live a normal life or make the sacrifices necessary to be Spider-Man. While there are some pacing issues and questionable character decisions, it never detracts from your investment in the key characters, anchored by an always stellar performance from Tom Holland. Between this, the recent PS4 game and last year’s Spider-Man: Into the Spider-Verse we really are living in the golden age for the web-slinger. Here’s hoping we stay on the upswing for a little while longer.

Spider-Man: Far From Home stars Tom Holland, Zendaya, Samuel L. Jackson, Marisa Tomei, Cobie Smulders, Jon Favreau, Jacob Batalon, Tony Revolori & Jake Gyllenhaal – in cinemas now.

Tags Jacob Batalon, Jake Gyllenhaal, Jon Watts, Marisa Tomei, Marvel, Samuel L. Jackson, Spider-Man, Spider-Man: Far From Home, Tom Holland, Zendaya

Movie Reviews

Child’s Play (2019)

Post author By Mark
Post date June 28, 2019

The Child’s Play franchise has always been something of an outlier in the horror landscape. The series delivered one of pop-culture’s most famous movie murderers in the delightful little murder-doll Chucky, an icon right up there with Freddy Krueger and Jason Voorhees, but the movies themselves never really made waves in the horror scene. The first 3 in the series are competent enough, never really venturing far from your conventional slasher film, but it’s the sequels Seed and Bride of Chucky which took the series into some weird places; easily some of the most bizarre horror movies ever made. The series has been consistent enough over the years, with the latest entry being 2017’s Cult of Chucky, which makes this reboot something of an outlier – the series isn’t in the same dire place as other franchises that desperately need a remake, so why make this? The 2019 version of Child’s Play sits comfortably between the slasher origins of the original 3 films and the craziness of the later sequels. Featuring a timely modern twist on the toy killer, it’s a rollercoaster of laughs and scares that’s one of the most fun experiences to be had in a cinema so far this year.

Similar to the original film, we follow teenager Andy (Gabriel Batemen) and his mother Karen (Aubrey Plaza) who have recently moved to a new home. Andy’s a troubled child, self-conscious about his hearing aid, and he finds it difficult to relate to other children and thus buries himself in his phone and social media like every other young person these days. Karen, understandably worried about her son’s increasingly anti-social behaviour, decides Andy needs a friend and so brings home a Buddi doll; a kind-of physical Alexa or Google home assistant that connects to smart devices and learns patterns and behaviours from its owner in order to make life easier. Only there’s something wrong with this Buddi doll. He refuses to take the name Andy gives him, dubbing himself Chucky (Mark Hamill) and taking on a very protective role for his new “bestest bud” Andy. Chucky’s obsession with protecting Andy slowly grows and he begins to take issue with anyone who shows comes into contact with his adoptive owner, including Andy’s friendly neighbour Mike (Brian Tyree Henry), a local detective. From there we get to the fun stuff: a ridiculously over-the-top rampage stuffed full of cheese all leading to a suitably crazy and swear filled finale (because it just wouldn’t be a Chucky movie without the doll spewing out curse words).

Your mileage with Child’s Play will depend on your ability to go along with the craziness. Yes, Chucky is the way he is because his “violence inhibitor” has been switched off and yes, people actually swarm to get their hands on these creepy dolls so they that can control their homes. That’s some real Terminator stuff right there. Chucky’s ability to interface with the technology around him makes for some inventive kills that keep the film from becoming just another generic slasher film – although there’s still plenty of slashing for series veterans. If you can get on-board with this then the movie is a blast; fast-paced with some genuinely good scares and some killer jokes (excuse the pun). Dig a bit more under the surface, however, and you’ll find an extremely timely message about over-reliance on technology and our ability to communicate without the internet and social media. Chucky is the by-product of this, his behaviour learned from those around him and the innocent confessions of a child who just longs for a friend. It’s an interesting play on the character of Chucky – he’s not inherently evil, he just wishes to protect his master from the unforgiving world around him – and one that sets the film apart from the rest of the franchise.

There was understandably much debate brought on by the decision to have Mark Hamill voice the killer doll in this instalment instead of Brad Dourif, the voice of Chucky for almost 30 years. It was clearly a choice made to differentiate the film from the rest of the series, but could it work without Dourif’s menacing tone and ability to scream profanities in both a funny and scary way? Well, yes and no. Hamill is a legend of voice-acting, most known for his seminal portrayal of the Joker in numerous Batman films and TV appearences, and as such has an instantly recognisable voice. It’s no fault of his own and to Hamill’s credit he really attempts to differentiate it from the Joker voice by using a higher register but there’s still no denying the similarity and it sticks in your brain. Fortunately this is only a transitional feeling and goes away after a while, leaving you to appreciate his take on Chucky. Obviously this may be harder for some to just put aside than others, but to judge the performance as just another Joker voice is a disservice to the stellar work on display from Hamill. He excels as Chucky, giving him an optimism about the world which slowly turns violent without a shift in the tone. It’s an unsettling choice that puts Chucky’s programming on display here, he doesn’t see the right or wrong of his choices, he is murdering people purely to try and make Andy happy so they can play together.

On the more human side of the cast is a solid lead performance from Gabriel Bateman as Andy, a role which requires a lot from such a young actor. He’s more than up to the task, hitting all the right emotional beats and really selling the core relationship with Chucky as his best and only friend. Once the doll begins to show signs of homicidal tendencies, Andy is understandably alarmed, yet that core attachment to Chucky makes it difficult for him to decide what to do, and Bateman sells this beautifully through his anguished facial expressions. Aubrey Plaza delivers her usual biting deadpan style of comedy with terrific results, as the jaded, struggling single mother of Andy with a unique, almost more friend than mother relationship. Plaza’s brand of comedy is one of the films biggest strengths here, giving voice in the film to what we as audience members are thinking. For example in a scene early in the movie she remarks on the Buddi dolls creepiness and questions why Andy actually wants one. It’s a clever device to ease audiences into the bonkers story that is about to unfold, as even one of the main characters is just as skeptical of the premise as we are.

Child’s Play is a movie with a hard job to do in order to justify its existence: it needs to stand on its own as a different take on the Chucky legacy whilst also paying homage to the aspects of the franchise fans have come to expect. In this way the film is a roaring success; filled with over-the-top kills, some especially good scares (in a franchise not particularly known for them), and the right amount of humour to ensure that the audience always has a smile on their face. Couple that with excellent voice work from living legend Mark Hamill and a solid human cast and you’ve got yourself one fun time at the movies.

Child’s Play stars Mark Hamill, Aubrey Plaza, Gabriel Bateman & Brian Tyree Henry – in cinemas now.

Tags Aubrey Plaza, Bryan Tyree Henry, Child's Play, Chucky, Gabriel Bateman, Mark Hamill

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

TV & Streaming Reviews

Stranger Things – Season 1

Post author By Mark
Post date June 26, 2019

Few could have imagined the worldwide pop-culture phenomenon Netflix’s original series Stranger Things turned out to be. The Duffer Brother’s unassuming Spielberg-like series set in the small town of Hawkins, Indiana struck a chord with viewers due to its endearing everyday characters, intriguing central mystery and retro 80’s setting and was one of the streaming giant’s first smash hits – a certifiable television event. Featuring an ensemble cast led by a career resurrecting performance from Winona Ryder, the show made household names of David Harbour and Millie Bobby Brown who have both gone on to feature in some of the biggest blockbusters in recent memory. So with the third season of the hit series set to arrive on Netflix soon, it’s time to return to the Upside-Down and talk about just what makes this series so great.

The series centres around four school friends living in Hawkins: Mike (Finn Wolfhard), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin) and Will (Noah Schnapp) – typical nerds, for the time, who spend their time in an AV club and playing Dungeons and Dragons. Hawkins is a town with a lot of history and connections, so when Will suddenly disappears the town is left reeling, none more so than Will’s mother Joyce (Winona Ryder) and brother Jonathan (Charlie Heaton), who team up with police chief Jim Hopper (David Harbour) to solve the case and get Will back. The ensuing search for Will creates more for the boys to contend with as they stumble upon Eleven (Millie Bobby Brown), a mysterious girl with a shaved head and a unique set of abilities, who unwittingly involves them in a dangerous game with a shadowy government organisation who may or may not have something to do with Will’s disappearance. Meanwhile, Mike’s sister Nancy (Natalia Dyer) is dealing with a similar situation with the sudden disappearance of her friend Barb (Shannon Purser), compounded by the stress of a new relationship with the most 80’s named school jock ever, Steve Harrington (Joe Keery). All these character’s paths eventually converge on a collision course to the Upside-Down, a shadowy realm hidden within ours; a kind of parallel universe where Will finds himself being stalked by an evil creature, dubbed by his friends as the Demogorgon. With the government hot on their tails, the kids and their families must band together with the help of Eleven to rescue Will and save Hawkins from being opened up to the creatures of the Upside-Down.

What makes Stranger Things so addictive and enjoyable to watch is the way every character and storyline is balanced. Each main storyline is so fleshed out that it’s almost impossible to not find something to like about a particular arc. Whether that be the intriguing Goonies-type interplay between the kids, the descent into madness that Joyce embarks on as she gets more and more desperate to find her son, or just some good old fashioned high-school drama with the Nancy/Steve/Jonathan love triangle. Whilst it may not seem like high school dating drama would have anything to do with the overarching plot of Will’s disappearance and Eleven’s powers, the show is developed so that every detail factors into this central mystery. Every character gets their moment to shine meaning audiences can invest in whoever they most relate to or find entertaining – they’ll surely be pleased by the payoff of that characters big moment. This broad appeal definitely helped the show become such a cross-cultural hit; despite its rating (the show isn’t technically for kids but we all know they watch), it manages to appeal to almost every major demographic.

Another, and perhaps the most recognisable, part of the charm of Stranger Things is the nostalgia. From the clothes and hairstyles to the classic rock soundtrack and synth-heavy score, the show oozes with early 80’s charm, another layer to the story that puts it in something of a bubble: a modern sci-fi horror story told through an old school lens. It comes as no surprise then, that in a show filled to the brim with retro film, music and pop culture references that the creators, the Duffer Bros have paid tribute to perhaps the greatest filmmaker of the decade: Steven Spielberg. The show pays homage to a number of the iconic filmmaker’s movies and combines them in a manner that feels familiar without beating you over the head with it. The connection Mike and to a lesser extent, his friends, develop towards Eleven is akin to Elliot and his siblings connection to the friendly alien in E.T. The Extra Terrestrial. Where ET was able to make bicycles fly, Eleven is capable of launching vans over bicycles as they ride by and murdering a room full of soldiers with her thoughts. Similarly, the lights hung by Joyce which act as an improvised ouija board to contact Will is a play on the musical tones used by the aliens in Close Encounters of the Third Kind to communicate with mankind. Where those tones signalled the aliens’ peaceful intentions however, the lights are used to a more sinister effect, a warning about the impending horrors to be unleashed on Hawkins. It’s these familiar beats that draw us in as viewers and the dark, killer twists on them that sink their hooks into us and capture our attention.

Hooking the viewer in with nostalgia alone is not enough to make a cohesive show and the Duffer Bros have wisely recognised this on a narrative level as well as on the technical side of things. The series is shot wonderfully, the intimate moments captured up close and personal, with longer takes where necessary to give us the full effect of the actors performance. One shot in particular comes to mind of Joyce clutching the bundle of christmas lights which Will has contacted her through for the first time. The camera slowly pulls back from Ryder’s face buried in the lights as we see her sob silently and more of the house is revealed. It’s a subtle device that makes the audience feel like the scene is still moving whilst we are transfixed on Joyce; it’s not that we’re expecting some big event to happen and in fact nothing monumental to the story is happening at all, but it’s an important moment for the character of Joyce, one that really makes the audience empathetic and puts us on her side for the rest of the series. On the flip side, the action heavy scenes are handled in their own unique way; often relying on flickering lights or scenes shot at night to hide some of the pretty terrible visual effects on the Demogorgon. It’s a smart choice that, when combined with the eery synth laden music really adds to the atmosphere of the scene; tying in with the Upside-Down’s distinct visual style: a nightmarish mirror image of Hawkins in perpetual night, where frost and slime reminiscent of the Alien films covers everything.

The true strength of Stranger Things is in its cast and without this group of actors there is no doubt that the series would have been a different beast altogether. Everyone is pitch perfect, each playing something of an 80’s archetype with a twist; there’s the alcoholic police chief with a troubled past, the school jock suffering from an identity crisis, and the young girl with telekinetic powers who has spent her life locked up in a government facility forced to kill mice with her mind – ok maybe that last one isn’t your conventional 80’s character. Winona Ryder is the standout of the ensemble and the emotional heart of the show. Her drive to find her son and unshakeable belief that he is still alive provides some truly heart-wrenching scenes as her desperation increases. Ryder perfectly encapsulates the heartache and panic of a mother separated from her son; the scene in which she communicates with Will through a set of Christmas lights allows her to show a remarkable range as she cycles through desperation, overwhelming joy and sheer terror all within a few minutes. David Harbour shines as Chief Hopper, something of a slow burn of a character, who the audience unravels more and more each episode. Whilst he starts the series as an aggressive, somewhat jaded man who clearly has experienced some trauma, his connection to Joyce’s struggle begins to tear away at this hard exterior and allows for Harbour to deliver a very nuanced performance building towards an emotional breakdown in the final episode; in which Hopper’s backstory is revealed and the reason for his personal interest in Joyce’s situation is uncovered.

Not to be outdone, the younger portion of the cast delivers stellar performances across the board. The trio of Mike, Dustin and Caleb in particular have a difficult task in that they represent the audiences introduction to this wider world of monsters and powers and are the only characters that really have a complete picture of everything going on. Wolfhard leads the charge here, given the most to work with in the sense of the overarching plot, his relationship with Eleven becomes key to empathising with both characters. The somewhat imbalanced parallel of Mike learning to talk to a girl whilst Eleven learns about life outside the government facility is played for laughs at times, but each is significant for the individual and the series perfectly captures the feeling of discovery and frustration children experience when change forces them to grow up. Matarazzo plays the somewhat stereotypical “funny kid”, given free reign over majority of the comedy and he absolutely excels, with a charm and comedic sensibility not often seen in child actors. Whilst not a major part of the plot, he has some quality moments and offers the respite of a laugh when the story around him gets a little too dark. Without a doubt the breakout star of the series is Millie Bobby Brown, following her terrific turn as Eleven. In what would be a difficult role for even the most competent adult actor, Brown is exceptional as the damaged young girl who must recover from her traumatic past and adapt to the world around her and learn what it means to really be a child. The slow progression of her character is fascinating to watch, with Brown often conveying complex emotions and discoveries with facial expressions alone.

Stranger Things is one of those series that comes along and leaves an indelible mark on television history; a true pop-culture phenomenon and a litmus test for just how high a Neftlix property can soar. The Duffer Bros have crafted a truly compelling mystery wrapped up in 80’s nostalgia filled with excellent characters and performances all working together to form something truly special that audiences around the world have swarmed to. With such critical and audience fanfare, we’re likely to see many more seasons of the hit show beyond the impending season 3, and I for one am willing to spend as much time in the Upside-Down as I can get.

Stranger Things Season One 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, David Harbour, Finn Wolfhard, Gaten Matarazzo, Joe Keery, Millie Bobby Brown, Natalia Dyer, Netflix, Noah Schnapp, Stranger Things, Winona Ryder

Movie Reviews

Toy Story 4

Post author By Mark
Post date June 23, 2019

The Toy Story franchise is one close to many children’s (and adult’s) hearts; the studio defining 1995 hit was a watershed moment for computer generated animation which combined advanced technology with a story full of heart and lovable characters. The sequels that followed were equally as good, if not better – inspiring and entertaining children around the globe and sparking a child-like joy in the adults that watched them. Fears arose in fans when a third film was announced 11 years after its predecessor – some believing that Pixar was simply cashing in on the franchise. These fears were quickly put to rest as the film was a smash hit and a critical darling, showing that whilst Pixar may have had some missteps, it was still very much in control of the Tory Story series. Despite this, the announcement of a fourth film stirred up that same fear in fans, somewhat understandably as Toy Story 3 seemed like the perfect bookend to the franchise. Yet again these fears were proven wrong however, as Toy Story 4 is another stellar entry filled to the brim with plenty of heart, laughs, life lessons and incredible characters that is sure to put a smile on everyone’s faces.

The toys’ fourth outing centres around Woody (Tom Hanks) coming to terms with his role as a toy for new owner Bonnie. Having been the apple of previous owner Andy’s eye, Woody isn’t accustomed to not being the favourite and finds himself being passed over when playtime rolls around. When Bonnie brings home new “toy” Forky (Tony Hale) – a creation made out of a plastic spork, googly eyes and popsicle sticks – Woody is understandably a little miffed, but he also recognises the importance of the self-made toy in helping Bonnie cope with school. Forky is suffering from his own existential crisis, believing his purpose is to be used once and thrown in the trash, and Woody takes it upon himself to help Forky realise just how important he is to Bonnie and what it truly means to be a toy. When Woody and Forky are separated from the rest of the group, it is up to them – as well as a host of characters both new and old such as Buzz (Tim Allen), Jesse (Joan Cusack), Bo Peep (Annie Potts), Ducky (Keegan-Michael Key), Bunny (Jordan Peele) and Duke Caboom (Keanu Reeves) – to work together to get Forky back to Bonnie.

As with all of Pixar’s greatest films, Toy Story 4 is anchored by a central theme: finding one’s place in the world. For Woody, his purpose has always been making Andy happy and he has thrived off seeing Andy grow into his own fully fledged person. Naturally Woody assumes that things will go much the same with new owner Bonnie, but life has other plans. The emotional core of the film centres around Woody coming to terms that he is not Bonnie’s favourite toy like he was Andy’s, yet still having that instinct at his core to see Bonnie happy and fulfilled. He is willing to sacrifice his own happiness if it means that other toys can go on and make Bonnie happy, and this compromise really weighs on Woody as he also yearns for his own personal happiness. Enter Forky, who acts as a physical representation of the opposite view to Woody: where Woody believes his purpose is to help ensure Bonnie’s happiness, Forky believes he is destined for the trash and goes to great lengths to achieve this and ensure his own happiness. The companionship between these two toys allows for a real exploration of the concept of purpose, as both characters come to understand each other’s point of view. It’s a complex concept sold in a visually stunning, funny and endearing way that really appeals to kids and teaches as well as entertains.

Whilst the animation and laughs are always top notch, audiences flock to the Toy Story films for the characters. Children from the 1990’s have grown up with these characters and their adventures and understandably have a special place in their hearts for Woody, Buzz, Jesse and the gang. It might come as a blow to some viewers, therefore, that the film chooses to narrow its focus on Woody and his internal crisis. He is undoubtedly the lead and whilst we get plenty of screen-time from other characters (mostly new), don’t go into it expecting to see much of your favourite supporting characters like Slinky or Rex. This laser focus on Woody and his immediate surroundings works for the story being told and helps the audience understand his mindset; we’re along for the ride with Woody and are experiencing this wider world of toys as he does. Speaking of which, Toy Story 4 branches into unmarked territory for the series as this is undoubtedly the scariest film in the franchise and I was shocked at the horror elements on display and how unsettled I was by certain scenes. On the flip side of this, it’s also the funniest film in the series by far with the addition of comedy sketch duo Key and Peele a stroke of genius. The pair play stuffed animal carnival prize toys who have clearly been strapped to the prize wall for too long given their imaginative and warped views on what is happening around them. Key and Peele obviously have great chemistry and the incessant banter that bleeds from their scenes at the forefront into the background is so good and consistently funny – I could happily listen to the hours of recorded dialogue that was ultimately scrapped.

With the film anchored by Woody, it’s no surprise here that Tom Hanks gives a stellar performance. The character is second nature to Hanks at this point and the way he uses his voice to convey Woody’s emotional state is spectacular. Combine that with Pixar’s best animation to date and the end result is a completely immersive film that really sucks you into the story. Tim Allen reprises his role as Buzz and is quite frankly a little shortchanged here as the character’s involvement in the story seems like more of an afterthought. Allen works well with what he’s given and at this point it’s just reassuring to have Buzz along for the ride, in whatever capacity that may be. Where the voice acting really gets interesting is in the new additions to the cast, mainly Tony Hale as Forky and Keanu Reeves as Duke Caboom. Tony Hale has made a career out of playing excellent side characters on shows such as Veep and Arrested Development, but he really gets a chance to shine here as the voice of the googly-eyed spork, transferring that excellent comedic timing over to the big screen. Forky gets a chance to play off just about every major character and its almost a guaranteed laugh every time as Hale utilises a range of vocal techniques and grunts to hilarious effect. It’s no secret that 2019 belongs to Keanu Reeves and the role of Duke Caboom only adds to his impressive list of credits this year. Reeves’ voice is instantly recognisable at this point and half the fun of having him in this role is hearing John Wick himself voice the Canadian motorbike stunt rider with PTSD from his previous owner. It’s a charming character and the little French-Canadian touches Reeves provides really add to the performance. Last but certainly not least is returning side character Bo Peep, played by Annie Potts, who has been promoted to co-lead this time around. It’s a complete change for the character who has gone from little more than a bit part to a fierce, independent adventurer intent on discovering all the world has to offer without the constraints of belonging to one child. Potts plays this strong aspect of the character perfectly but really shines in showcasing Peep’s vulnerability. She misses the companionship of Woody and despite enjoying her life of freedom longs for that connection.

Toy Story 4 is another rousing triumph for Pixar. A film that not only justifies its existence but which furthers the franchise in every conceivable way: characters, emotional depth and comedy just to name a few. The new additions to the cast are incredible and each new character brings a different flavour to the narrative; be it Bo’s emotional connection with Woody or Forky’s waxing philosophical about trash. Pixar once again proves that they are the industry gold standard in animation and audiences should rush to see this film in the theatre, where it will surely break box office records. If you had any doubts about a fourth film in the franchise, then they will almost certainly be put to bed, and if Pixar decides to continue with the series at this standard, well they can go to infinity and beyond.

Toy Story 4 stars Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keanu Reeves, Keegan-Michael Key, Jordan Peele & Christina Hendricks and is in cinemas now.

Tags Disney, Pixar, Tim Allen, Tom Hanks, Toy Story, Toy Story 4

Game Reviews

Sekiro: Shadows Die Twice

Post author By Tydus
Post date June 20, 2019

First things first – Sekiro: Shadows Die Twice is hard. The latest entry by experienced studio From Software was expected to be nothing less than a brutal challenge, given the creator’s history with Bloodborne and the Dark Souls‘ series. Yet, as with its predecessors, Sekiro presents a uniquely rewarding experience for those willing to rise to the challenge. Just be prepared to find victory at the end of many, many defeats.

The world of Sekiro is probably the most appropriate setting that the genre has visited over the years. Set in feudal, war-torn Japan during the age of the samurai, the core life or death swordplay fits like a glove. It also allows for a very dark and intricate story, full of Japanese lore, characters and narratives. You’ll play as a scarred swordsman known simply as Wolf, a name bestowed to him by the highly regarded warrior that took him in as a child. Wolf is tasked with protecting the young ‘Divine Heir’ Kuro – a boy to whom the samurai has pledged his life. This dynamic underlies most of the events in the game, with Wolf slicing his way through the growing evil on the wishes of his ward. As with similar entries of its type, Sekiro also isn’t afraid to dabble in the supernatural when it comes to its setting and unforgiving dangers. Don’t be too surprised to see elements of the undead, grotesque monsters and magic artefacts as you explore the Japanese surroundings – it’s all just part of the charm.

It also helps that the game and its setting look great, even when you’re struggling to keep your head on your shoulders. As expected from any good samurai tale, there’s often a hazy full moon floating in the background, and the first big battle in the game is fought between two rival swordsmen in a pure white flowerbed. The feudal Japan setting also means that the game’s full of traditional buildings, objects, customs and language. While fully dubbed in English, the default setting for vocals is in Japanese – which honestly suits the game much better given the work that’s gone into its overall design. None of this really matters in the grand scheme of things however, because as nice as it all looks and sounds, this is an experience that’s ultimately out to hurt you.

The real meat of the game is definitely the tight and brutal combat encounters you’ll come across every step of the way. Each battle has a fairly straightforward aim: wear your opponent down enough to strike a killing blow. The goal sounds simple, however getting the upper hand often takes some perfect dodging, blocking and countering of your opponent’s own attempts to murder you. There’s a general rock-paper-scissors element at play most of the time – general strikes should be blocked, large sweeping moves need to be jumped over and an incoming grab should be sidestepped. Spend more than a second to react or perform the wrong counter and you’ll pay for it immediately. It will take some time to learn and read each enemy’s moves, so expect to be cut down quite a lot at any stage during your playtime. For this reason, the game will definitely be divisive for many audiences – with your enjoyment being based on how many total failures you can take before that sweet, elusive victory.

For a game so eager to crush you into the ground, it’s a bit rough then that death carries so much punishment in Sekiro. Each time Wolf falls and is not revived, you’ll be sent back to the last checkpoint you found before the fight. The kicker is that there’s a strong chance that you’ll return with your pockets totally void of cash and your experience points halved. With the money you find being used for new weapons and recovery items, and the experience points used to earn better and stronger skills, losing all of this actually puts you at a disadvantage going into the fight again. Die a few more times and your return will mean that characters and allies you’ve met during the journey become gravely ill, locking out their actions and help until you manage to stop getting yourself killed every ten minutes. Each sick character also increases your chances of losing all your resources each time you die, completing this nice little circle of punishment that makes every following fight harder. This is obviously supposed to push the player to really master Sekiro‘s controls and mechanics, but with death coming so easily and frequently, this can sometimes feel like the game is just kicking you while you’re down.

Thankfully there are a decent number of skills, tools and upgrades spread throughout the world to even the odds – with many being fitted to your character’s prosthetic left arm. Wolf will be fitted with this in the opening moments of the game, and its inbuilt grapple hook will quickly become key to traversing each area and getting the high ground over enemies. As you defeat more powerful foes and travel further, you’ll also find tools that will allow the arm to fire projectiles and spit fire over your opponents, as well as many other cool options you’ll find through playing. Many of these weapons create weaknesses and openings that can bring enemies to their knees, however the most powerful weapon in your disposal is almost always stealth. Sekiro places a big emphasis on playing the quiet game, allowing you to eavesdrop on some helpful conversations from rooftops or strike unsuspecting brutes while their guard is down. Landing a blow on your enemy while they are unaware is a one-hit-kill most of the time, and it can even be used to halve the strength of a boss before a big fight even begins.

That last option is a strong choice, as the bosses you’ll face here are a nasty lot. Ranging from blazingly fast and deadly swordsmen right through to enormous, headless creatures of the forest, there’s always something ready to put you several feet into the ground. These big players will likely cause the majority of your defeats, with most having a special move or two that can wipe you out with a single blow. But the bigger they are, the harder they fall, and the feeling of finally overcoming another punishing foe is almost always worth the trouble. The game also features a new game plus option once you’re able to beat it the first time, meaning you can return for a second run for some glorious, full-powered revenge. The option is also useful for exploring Sekiro‘s branching story options, with the game featuring more than one ending based on the choices you make.

A somewhat difficult game to recommend broadly, Sekiro has a pretty specific audience. Its brutal difficulty and rewarding victories will have fans of the genre eating up every challenge, however it may prove too much for some crowds that aren’t familiar with it. In saying this, the game is probably the most accessible entry of its type to date, featuring some compelling storylines, stunning visuals and great attention to detail. What Sekiro does, it does incredibly well. So when it sends its biggest and baddest to tear you apart, you best be prepared to die.

Sekiro: Shadows Die Twice is available now on PS4, XBOne & PC.

Tags From Software, PlayStation, Sekiro, Sekiro: Shadows Die Twice, Xbox

Movie Reviews

Murder Mystery

Post author By Tydus
Post date June 18, 2019

The Netflix empire has continued to grow and expand year after year, thanks in no small part to its catalogue of original content and partnerships with A-list creators. The latest big shot of original content comes from and stars Adam Sandler – a name tied to a wide spectrum of films ranging from great to… not so great. The relatively average Murder Mystery won’t alter this reputation much, however it is one of the actor’s better recent offerings and a decent adventure that pokes fun at the genre.

Sandler plays Nick Spitz, an NYPD officer who dreams of finally passing his detective exam after multiple failed attempts. Jennifer Aniston plays his wife of 15 years, Audrey – a hairdresser hooked on mystery novels and desperate for a holiday. Following an argument about their endlessly delayed European honeymoon, the couple finally board a plane across the pond. While onboard, Audrey runs into Charles (Luke Evans), a suave viscount that presents her and her husband with an offer: join a cruise on his fabulously wealthy and estranged uncle’s yacht to celebrate the old man’s recent wedding. It’s a nonsense setup that could only fly in a comedy, with the slow opening 20 minutes easily the weakest of the film.

It’s once the Spitz couple are aboard said yacht that things start to pick up a bit however, as the two are quickly introduced to the wider cast of eventual suspects. As with any great murder mystery, the characters here are total opposites that otherwise have no business being in the same room together. These include Russian bodyguard Sergei (Olafur Darri Olafsson), pro-racer Juan (Luis Gerardo), famous actress Grace (Gemma Arteton), one-handed Military Colonel Ulenga (John Kani), trophy wife Suzi (Shioli Kutsuna) and the billionaire’s only son Tobias (David Williams). Once the big murder finally happens, everyone has a motive – yet it’s the American couple’s unexplainable attendance at the gathering that makes them the prime suspects.

What follows are a series of escapades and misadventures between Nick and Audrey as the honeymooners attempt to avoid the authorities and find the real culprit. Sandler and Aniston have some decent chemistry as a quibbling married couple, and the plot moves along well during the later half as the two discuss their suspicions and plans as they go. Sandler playing a relatively normal character (for his standards) works in the film’s favour, as he keeps things relatively grounded throughout. In saying this, there are definitely a few jokes that fall pretty flat or go a bit far – with the supposed police officer at one point stealing a corpse’s tuxedo for no real reason.

Audiences may also find some of the more outrageous characters a bit hit and miss, depending on how they feel about low brow jokes and cheap laughs. Adeel Akhtar plays Vikram, a street-talking Maharaja who is also at the scene of the crime. Akhtar’s character is on screen purely for the laughs, and he quickly steals the spotlight whenever he’s around with some situational gags and his oblivious outlook on things. Another larger-than-life character stirring things up is Inspector Delacroix (Dany Boon), the French detective in charge of the murder investigation. A caricature of brooding detective stereotypes, the inspector spends his screentime puffing cigarettes and pointing the finger at all the wrong people. Not nearly as over the top as the Maharajah, the inspector can still bring out a laugh here or there for those not looking for thoughtful or creative comedy.

Thankfully there’s actually a decent amount of thought and respect going into the general plot outside of these moments. Aniston’s character is a huge fan of mystery novels, so it’s fun to watch her follow another supposed clue or play the spy whenever necessary. There’s also a good attention to detail on the tropes of murder mysteries, such as the lingering focus on items that don’t seem important to the untrained eye, as well as the odd red herring and twist mixed in for good measure. It’s no Poirot or Sherlock Holmes, but it’s some enjoyable sleuthing that keeps you guessing despite the hijinks going on throughout.

All in all, Netflix’s Murder Mystery is a decent attempt at a genre mash-up that hasn’t been done to death like other generic ideas recently. There’s enough pace and plot in the second half to keep things running, despite the hit and miss laughs and a painfully slow start. Give it a watch if you’re looking for some light-hearted escapades and some big names in a nice European setting – there are plenty of worse ways to spend a night in front of the TV.

Murder Mystery stars Adam Sandler, Jennifer Aniston, Luke Evans, David Williams, Gemma Arteton, John Kani, Shioli Kutsuna & Dany Boon – Streaming now on Netflix.

Tags Adam Sandler, Gemma Arterton, Jennifer Aniston, Luke Evans, Murder Mystery, Netflix

Movie Reviews

Men in Black: International

Post author By Mark
Post date June 16, 2019

You’d be forgiven in this day and age for not being familiar with the Men in Black franchise. The series, based on the popular comic, had its first cinematic adventure in 1997 – led by the unlikely yet infinitely watchable duo of Will Smith and Tommy Lee Jones – and released two more sequels in the intervening 20 years to waning interest and lessening quality each time. Enter director F. Gary Gray’s reboot Men in Black: International, intended to breathe new life into the franchise, with new blood both behind and in front of the camera and two of the most popular actors working today in Chris Hemsworth and Tessa Thompson. It may be time to retire the suits for good after this one though, as Men in Black: International is one of the most bland and forgettable sci-fi action films in recent memory.

The plot (and I use that term loosely) revolves around Agent M (Tessa Thompson) attempting to uncover and enrol in the Men in Black agency following a run-in with an alien creature as a child. Her attempts land her on a probationary mission with Agent H (Chris Hemsworth), a high ranking member of the organisation who, together with Agent High T (Liam Neeson), defeated an alien invasion from a species known as “The Hive” three years prior and hasn’t been the same since. What starts as a routine mission babysitting a highly regarded alien soon turns to ruin after the arrival of two alien beings with the ability to turn into light and murder anyone in their path. Agents M and H must uncover the origin of these deadly assassins, whilst also dealing with the possibility of a mole within the Men in Black and ensuring that the most powerful weapon in the galaxy does not fall into the wrong hands.

The story, simply put, is a mess: full of disparate parts with no real connective tissue as we rush from scene to scene. There’s no depth or time given to any scene to let it breathe; things simply happen to the characters and the next scene is something totally independent of the last. For example: one minute the agents are being chased through the streets of Marrakesh in what we’re supposed to believe is a life or death fight for survival, and as soon as they enter a building housing an alien queen that intensity is gone. It’s never made clear to the audience if these assailants chasing the agents have given up, if the building has cloaked them or any number of science fiction options the writers could have used to give the scene some explanation – instead opting to abandon the last scene because now it’s time for the funny alien. This disjointed approach also robs the characters of any real development or arcs. The audience is meant to believe that Tessa Thompson has worked her whole life to realise this dream of joining the Men in Black but when it takes all of 10 minutes to go from nobody to rookie that doesn’t come across at all.

The ’97 original film succeeded off the back of Will Smith and Tommy Lee Jones’ joint charisma and the running joke of the absurdity of that pairing. The humour that was created out of that combo worked for those actors and for the time in which the movie was made. International attempts that same style of humour without the odd pairing prerequisite Smith and Jones had, especially after Hemsworth and Thompson proved they had chemistry in Thor: Ragnarok, and as such all the jokes that come out of this fall disastrously flat. The only humour that really comes off well here is from Kumail Nanjiani’s pint sized alien Pawny, who joins H and M on their travels. Nanjiani’s trademark scathing humour is dialled down here to fit in with the rating but it always packs a bite, stealing the scene from whoever else is in it. Pawny was undoubtedly the highlight of the film despite the questionable CGI on the character at times. Given that the CGI of the original film was some of the greatest ever seen at that point in cinematic history, it’s unfortunate that is not the case here – alternating between overly glossy to downright awful to the point you can almost see the outline of the shape on the green screen.

Your mileage with Men in Black: International will depend on how you feel about Hemsworth and Thompson. Make no mistake they are the main attraction here, and you would be forgiven for being excited to see that combination again following Thor: Ragnarok. Unfortunately that chemistry is largely gone, with Hemsworth and Thompson seemingly operating as though they are in completely different movies. Thompson opts to play the straight woman here, giving the character a harder edge that doesn’t allow for much fun banter with Hemsworth’s character. There’s bright sparks here and there, but ultimately the character is written in such a one note way that there’s only so much a talented actress like Thompson can do with the role, and her lack of surprise at literally anything – even when others around her are shocked – doesn’t allow for the audience to really invest in her character. Hemsworth gets a chance to let his charisma and charm loose – to mixed results. He just doesn’t have the widespread appeal that Will Smith had in the original; and in instances where Smith played his ignorance as endearing, Hemsworth comes across as out of his depth. Despite the character’s shortcomings, Hemsworth never stops being fun to watch and keeps you along for the ride even when everything around him is so bland. Liam Neeson and Rebecca Ferguson also have brief but entertaining roles as the leader of the London Men in Black branch and an alien arms dealer respectively. Ferguson in particular is clearly having a ball with the character and it’s nice to see her branch out of her dramatic and more serious action roles.

Men in Black: International is ultimately an extremely forgettable and uninteresting sequel/reboot that does not do anything new or different enough to justify its existence. The proposed Men in Black / 21 Jump Street crossover which was developed and subsequently scrapped may not have worked in its own right, but it would have at least been something different as opposed to the tired rehash audiences received. Despite Chris Hemsworth and Kumail Nanjiani’s best efforts, in the end it just isn’t enough to save this film from fading from audiences’ minds as if they’d been hit with a blast from the neuralyzer.

Men in Black: International stars Chris Hemsworth, Tessa Thompson, Kumail Nanjiani, Liam Neeson, Rebecca Ferguson & Emma Thompson and is in cinemas now.

Tags Chris Hemsworth, Emma Thompson, F. Gary Gray, Kunail Nanjiani, Liam Neeson, Men in Black, Men in Black: International, Tessa Thompson