Category: Reviews

Game of Thrones – Season 8

Post author By Tydus
Post date May 21, 2019

It’s officially done. After several years of drama, betrayals, victories and defeat, Game of Thrones has finally come to an end. Easily becoming history’s biggest TV series over its 10 years, Game of Thrones is known for its ability to exceed all expectations – deeply investing in its characters, lore and drama. So in the months, weeks and days leading up to Season 8, we were all ready for the war between the living and the dead, the final showdown between queens of dragons and lions – and, most importantly, how each of the show’s big characters would close out their stakes in the game. Once again, our expectations were challenged with every week’s instalment this season, but not always in the way we’d hoped or would have liked. While its strength has always been in its ability to surprise and shock its audience, this approach during its final season may just have been its biggest weakness.

Warning: While we don’t delve deep into plot details, we will be discussing certain 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.

We were all a bit cautious long before the first episode of Season 8 had aired, when it was announced that the whole saga would be wrapped up in just 6 episodes. Of course, the show is no stranger in using their time effectively – often creating some of the most memorable scenes through a single, tightly woven sixty-minute episode. Yet the final season of Game of Thrones somehow manages to make it feel as if 6 episodes was too many at some points, and hardly enough at others. At least half of the instalments feel like drawn out monologues and build up for the bigger moments, which would have been fine if the bigger moments didn’t come and go as quickly as they did.

These slower episodes allow the immensely talented cast to continue providing great turns as their respective characters, often displaying raw emotion and strong performances even in the most subtle scenes. Some of the more complex moments are simply where two characters share a moment, line or even a glance across a room – somehow managing to convey years of character development and plot building. A moment with Jaime Lannister (Nikolaj Coster-Waldau) during the final scene of episode one shows us just how far his character has come since his arrival at Winterfell in Season 1. Another between Arya (Maisie Williams) and the Hound (Rory McCann) later in this season is a fantastic nod to both of their progress across the entire series.

While these moments are great and rewarding for long time fans, there is just a significant amount of long, drawn-out scenes of dialogue and ground-setting for much of Season 8’s runtime. Often amounting to very little actual development of the plot and some very minor character moments, it feels as if these moments were shot solely as a way of putting all the cast around the campfire for one last hurrah. While it’s great to have these scenes to reflect on each of our favourites before the big battles, majority of these moments lead to almost nothing in the wider scheme of things – and leave us feeling as if the limited time could have been spent better focused somewhere else. The Night King and his army could have easily got a bit more backstory in these episodes, something to get people actually invested in what his goals and motivations were. Even some more time with Cersei (Lena Heady) would have been great, given she was criminally underused all the way through this season. There were also a lot of screentime given to the dragons in the first half of the season, generally just feeling like a waste of time and budget with how little real impact they brought during their scenes. Again, some strong character moments here save things from slipping too far downhill – Brienne (Gwendoline Christie), Sam (John Bradley) and Sansa (Sophie Turner) having some particularly standout scenes. The real big events however, are saved for the Season’s huge showdowns and set-pieces.

As promised, winter finally came this season in the form of the Night King and his army. From Game of Thrones‘ opening scene several years ago, the threat beyond the wall has always been coming for the living – and the showdown finally came in the middle of Season 8. Shot over multiple months under the cover of night, the fight was easily the biggest choreographed fight scene in TV history. Despite being hidden in a cloud of darkness for its runtime, the war between the living and the dead was shot excellently – full of effects generally reserved for the biggest of cinema blockbusters. Almost every character in the series gets a piece of the action here, with Ser Jorah (Ian Glen) and Theon (Alfie Allen) given some real payoff moments for those who have followed them from the start. In true Game of Thrones fashion, the fight doesn’t play out as we’d expect – with its conclusion leaving us with some mixed feelings on how the great saga of the Night King was dealt with this season. Despite this, the fight was still an absolute marvel to experience – peppered with tense moments, epic encounters and some memorable departures. It’s also the point in which this season began to tilt slightly, bending under the weight of the plot it still had to cover in what little time was remaining.

Being the final episodes of Game of Thrones, we were always going to get some sort of conclusion on the titular game that has been played across the last 10 years. This is where Jon (Kit Harrington) and Daenerys (Emilia Clarke) take centre stage, following from the revelation that came about at the end of Season 7. Unfortunately it’s here that the cracks start to show, as the writers aim to deliver significant plot beats in a very short space of time. In hindsight, the story that plays out between the two (and those around them) sounds great on paper. Its got as much character and world development than any of the past seasons, however it’s just rushed through far too quickly to have the right impact. For a series that built itself on a deep attention to detail and complex narratives, the blazing ride to the end felt particularly jarring. This is most noticeable in the penultimate and final episodes, where the loose ends and remaining character arcs are tied up as much as possible. What should be a series of great conclusions to the stories of our favourite (and not so favourite) Westerosi cast, it instead feels like a bunch of odd decisions and unfulfilling departures.

While it can be argued that the show has successfully used shock plays and surprise deaths in the past, these here just feel like they had no real purpose in furthering the story at large – often just leaving us questioning why on earth a scene played out as it did and wishing for some further meaning. It’s frustrating as you can almost see what writers David Benioff and D.B. Weiss (under the watchful eye of George R.R. Martin) were trying to achieve with some of these moments, but the decisions end up coming through as a bunch of out-of-character moves made on a whim. It’s not all missteps however, with the closing moments being a great reflection over how far some of our longest-serving characters have come – including Peter Dinklage’s Tyrion, proving that he’s always been the real glue that held all the pieces together. The cinematography and performances were also absolutely top notch, regardless of the plot they were serving. Watching a fully realised dragon emerge from the snow alongside the show’s stirring soundtrack is still a thrill, and will be remembered despite Season 8’s storytelling flaws.

In saying this, there still will be many who are unhappy with how things played out – we’d be lying if we said we didn’t have big problems with some of the choices made ourselves – and unfortunately its the plot that will ultimately be remembered here. At the end of the day, Game of Thrones‘ final season is a grand spectacle and a sprint to the finish – crumbling here and there under the weight of some lofty expectations and rushed plotlines. It will likely be a long time before another phenomenon can move the Song of Ice and Fire from its throne atop TV history, but for now – our watch has ended.

Game of Thrones – Season 8 stars Kit Harrington, Emilia Clarke, Maisie Williams, Peter Dinklage, Nikolaj Coster-Waldau, Lena Heady & Sophie Turner – Streaming on Binge in Australia and on HBO Max in the US now.

Tags Daenerys, Game of Thrones, Game of Thrones Season 8, George R.R. Martin, HBO, Jon Snow, Sansa, Tyrion

Movie Reviews

John Wick: Chapter 2

Post author By Mark
Post date May 19, 2019

Keanu Reeves and director Chad Stahelski struck gold in 2014 with the original John Wick. The pair crafted a tight, brutal action revenge film and created an iconic action character in the titular assassin. The story seemingly ended in that film, as John had found a new furry companion and walked away having settled his debt and avenged his previous canine companion. The unexpected financial success of the film, however, prompted a sequel to be put together, and while John Wick: Chapter 2 falls prey to some typical action sequel clichés, it still manages to be an engaging, even more brutal adventure into the assassin underworld.

Chapter 2 kicks off with a bang as we follow Wick tying up some loose ends with the Russian mob from the first film. This acts as an epilogue of sorts for the previous film but also as a chance to showcase the bigger budget and the fights that will come as a result. Once John returns from this mission and attempts to settle back into his retirement, he is greeted by Santino D’Antonio (Riccardo Scamarcio), head of an Italian mob family and an old acquaintance. Santino is the holder of a “marker” against John, a blood oath Wick struck years earlier that allowed him to escape from his criminal life and live with his wife – but now D’Antonio has come to collect. A globe trotting tour of assassinations and criminal syndicates follow as John is sent on a mission to take out Santino’s sister and heir to the council of assassins who essentially run the global underworld.

If all this sounds a bit confusing and ridiculous it’s because it is. The film makes it clear that it is foregoing a cohesive plot in favour of more complex fights and bigger stunts to go with that increased sequel budget. While the plot for the first film wasn’t exactly groundbreaking, it had a solid pace and moved with purpose as we followed John on his singular path for revenge. Here we fall into action clichés as John moves from room to room full of goons on his way to completing his mission. Once things develop further later in the run, the plot gets even murkier and I was unsure where John even was until we got a handy pan of the New York skyline as a reminder. While you are never bored watching, it is a shame that the story doesn’t do more to propel John on his way, instead opting in favour of abrupt shifts in location as we watch Wick adapt to each new situation he finds himself in. While not everything is a home run, writer Derek Kolstad is clearly taking risks in his screenplay, adding huge chunks of mythos to the assassin world and expounding on the first movie’s lore tenfold. The Italian settings make for a shift in environment that sets the action set pieces apart from the American counterparts of the first film, giving them their own distinct visual flair.

Where the increased budget has been put to use is the action. John Wick: Chapter 2 ups the ante significantly from the first film, delivering larger, more intense action scenes which expand from purely hand-to-hand fights through to vehicle combat and some magnificently shot chase scenes. The hand-to-hand scenes feature plenty more goons for Wick to cut through with his signature brand of Gun-fu, with Reeves one again performing majority of the stunts himself – allowing for long, uninterrupted shots of the action to be shown. These are beautiful to watch as Wick manoeuvres himself across a room cutting down everyone in his path, and they’re made even more stunning when they’re set in locations like a museum’s hall of mirrors or a brightly lit, futuristic train station. The chase scene in the train station is worth mentioning, and was easily the highlight of the film for me, as John attempts to outrun several rival assassins all intent on bringing him down. The scene moves back and forth between an all out chase as John sprints away from his enemies, taking down any in his path, and a stealthy escape as he tries to hide in plain sight, blending with the public. This stealth scene is particularly innovative because it also acts as a silent shootout of sorts, with Wick and his enemies taking shots at each other with silenced weapons. It all culminates in a thrilling train showdown with another assassin, a truly tense scene where each fighter vies for supremacy in the tight space of the carriage. It is quality action like this that make me overlook the fact that the public has no concern whatsoever about bodies piling up in their midst.

I mentioned before that Chapter 2 expands the assassin world, and this is evident in the introduction of several new characters. The character played by Ruby Rose, a deaf & mute assassin, could have been something more if it was portrayed by a more talented actor. It’s certainly an interesting concept, however Rose does nothing with the role and it boils down to her serving Wick with looks that say “I don’t like you very much” as she proceeds to try to kick him in the face. A better portrayed, if still not amazing, killer is Cassian, played by rapper Common, a bodyguard for Wick’s target who has a murky history with John. He definitely has more to work with in his role than Ruby Rose, and his past experiences with John makes for some great dialogue exchanges and fights. By far the best of the newcomers is Lawrence Fishburne, who plays the Bowery King, leader of an underground syndicate of assassins who pose as homeless around New York. Reeves and his The Matrix co-star obviously have great chemistry and their dialogue together pops. Fishburne excels at playing the unhinged leader, going for the same kind of over-the-top reactions and hyperbole in his dialogue that made Michael Nyqvist’s villain from the first movie so much fun to watch.

Whilst John Wick: Chapter 2 doubles down on the action and world building that made the first film so great, its nonsensical story detracts and leaves viewers confused about the significance of the fight they are watching. It’s hard to care about the outcome of a fight when we’re not exactly sure why John is in this particular mess. What does keep us invested, however, is another stellar performance from Keanu Reeves, who continues to give it his all, both in his acting and his stunt-work. We’re now so emotionally invested in the character that we will follow him anywhere and I can’t wait to see what awaits him in the next instalment of the franchise.

John Wick: Chapter 2 stars Keanu Reeves, Lawrence Fishburne, Ian McShane, Ruby Rose, Common & Riccardo Scarmarcio – Available to view on streaming and home entertainment now.

Tags Common, John Wick, John Wick: Chapter 2, Keanu Reeves, Lawrence Fishburne, Ruby Rose

Movie Reviews

John Wick

Post author By Mark
Post date May 16, 2019

John Wick is for Keanu Reeves what Taken was for Liam Neeson. At a time when Reeves was churning out sub-par dramas and straight-to-DVD atrocities, this was a breath of fresh air and resurgence for Reeves to shoot back into the public consciousness. The revival is well earned too, John Wick is a demonstration of a perfectly crafted revenge film, with copious amounts of blood, intense hand-to-hand combat and one seriously cute dog that sparks a night of complete carnage.

If you haven’t seen John Wick – which is unlikely given that it is one of the most popular action flicks in recent memory, and the third film in the franchise is set to hit cinema screens soon – it revolves around Reeves as the titular “reformed” assassin. I use quotation marks here because in this world no one really ever gets out of the hitman game, and while John may think he has found peace with his new wife, her untimely death rattles him to his core. Add to that the fact that Russian mobsters have recently murdered his newly befriended puppy – the last gift his dying wife gave him – and you have one seriously pissed-off Keanu Reeves on the loose. One of the best weapons in the film’s arsenal is the build-up to Wick unleashing his inner-assassin. We spend the first 40 minutes of the film building the character of John as a man coming to grips with the loss of his wife and transferring that love and affection to his new pet, and watching other people react to the news that Iosef (Alfie Allen), the son of Russian mob boss Viggo Tarasov (Michael Nyqvist), has killed Wick’s beloved beagle. To say John has a reputation is an understatement, and after all this build-up it’s immensely satisfying to watch his skills in action after we’ve heard so much about them. You’re always rooting for Wick because we have that emotional investment, and it’s a good thing too, because John does some pretty horrifying stuff to some people.

In a genre flooded with mediocrity and boring, repetitive action, it was a stroke of genius to hire long-time stunt coordinator Chad Stahelski to make his directing debut here. Stahelski clearly has a grip on how to film a convincing fight scene and all the action is shot beautifully. There is clearly a focus on practical stunts here and the cinematography benefits from this greatly. We get plenty of long shots that don’t cut away like most conventional action scenes and this allows us to see the brilliant work of the stunt performers. It also means the viewer is never lost in a fight scene and always has a sense of the geography and where the major players are. John Wick was also a major proponent of the “Gun-Fu” fighting style which had mostly been confined to Hong Kong action films previously. This involves Kung-Fu style action sequences using guns instead of more traditional weapons and it is absolutely breathtaking to watch. The fact that it really is Keanu Reeves in most of these action scenes is a testament to his craft in particular. A great example comes through a midnight siege on a busy night club; the way the lighting, music and action all mix together is so engaging – easily making it the best club fight scene in action movie history.

The story also takes a deep dive into world-building, providing a fair amount of lore, which is expanded upon in the sequels. Once he decides upon revenge, John operates out of a hotel which acts as an assassin headquarters of sorts, where every service necessary to perform a hit is offered; from gaining access to kill contracts to accessing the services of a clean-up crew to tidy up a vicious murder scene. It all serves to immerse you in the world, as well as serving as a story device, and it shows that writer Derek Kolstad has put that little bit of extra care into the script rather than serving up another paint-by-numbers Taken knock-off. What also helps to deepen the world and the lore is the characters that populate John Wick. From the Hotel Manager (Lance Reddick) who explains the hotels rules and offers their multitude of services, to Adrianne Palicki as rival assassin Ms. Perkins. They all flesh out the film and have their own unique personalities and traits, making it so much more enjoyable than just watching John cut through a room full of goons.

I mentioned that this was a film instrumental in Reeves’ comeback and it’s because he delivers some of his finest acting work here, in addition to the action previously touched on. While it may not require some of the dialogue heavy scenes of some of his earlier work, the amount of emotion and intensity conveyed through looks and body language is astonishing. John Wick barely speaks in the first 30 minutes and we’re so invested in his story and understand his loving relationship with his wife and dog perfectly. Other standouts in the film include Ian McShane who plays hotel owner Winston with the perfect mixture of snark and warmness, and Alfie Allen, who – fresh off his work as Theon Greyjoy in Game of Thrones at the time – really gets to play with the role, making Iosev Tarasov a disgusting, spoilt character that we are actively cheering on Wick to deal with. Michael Nyqvist plays the arch-villain of the film with a little more over-the-top dramatic flair – providing memorable so-bad-they’re-good lines such as “He’s not the Boogeyman. He’s the one you send to kill the Boogeyman”. It comes across as almost a tribute to the ridiculous action film villains of the 80’s, albeit toned down to fit with the rest of the film, and it really is good fun to watch him chew the scenery as he reacts to Wick murdering his way though the mob.

While it may be easy to just accept the John Wick franchise as the beast that it has become today, the first film came seemingly out of nowhere at the time and injected some much needed energy and Gun-Fu into a stale action genre. The importance of the film on the genre as it stands today cannot be understated. John Wick is a master-class in action cinema, combining quality performances from an all-star cast led by a resurgent Keanu Reeves with intense, vicious action that places it among the very best of modern action movies.

John Wick stars Keanu Reeves, Willem Dafoe, Michael Nyqvist, Alfie Allen, Ian McShane and Adrianne Palicki and is available to view on streaming and home entertainment now.

Tags Alfie Allen, Chad Stahelski, Ian McShane, John Wick, Keanu Reeves, Lionsgate

Game Reviews

The Legend of Zelda: Breath of the Wild

Post author By Tydus
Post date May 15, 2019

Almost as old as console gaming itself, the Legend of Zelda series and its numerous entries have become synonymous not only with Nintendo, but with gaming as a whole. The foundations have remained fairly constant throughout the main entries – a boy named Link finds a sword, fights through some dungeons, beats the big bad and saves a princess. Yet it’s how Nintendo delivers this formula that has made the series such a hallmark. Link’s adventure may have him cross a vast ocean as he commands the winds from one island to the next. Another entry may have him crossing through time itself, triggering changes in the past that impact the world around him in the future. The bold and innovative changes that each new adventure brings are key to the series’ long running success, and make every entry unique in its own way. So when Nintendo were gearing up to release their new Switch console – itself a bold and innovative risk – there was little surprise when they decided to pair the launch with another addition to the Zelda universe. What we may not have been expecting, however, was an entry that easily stands as one of gaming’s greatest adventures yet.

I’ve recently revisited Breath of the Wild after a long break since its release in 2017 – partly due to the fact that it deserved some time without distractions from other big releases, and I was also holding out for the significant story DLC to completely roll in. I was hesitant about starting over again after so long, wiping the decent amount of progress I had going from my first run – but it felt right in order to get the full experience (and to not get totally thrashed after forgetting how to swing a sword). It took just minutes to completely sink into this fresh start, leaving me wondering how I ever managed to put the thing down in the first place.

First things first – Breath of the Wild looks great. You’re thrust into the titular wild almost immediately, the view pulling back to give you an idea of the sheer scale of it all. The cel-shaded art style creates an environment blooming with colour and light – falling somewhere between the cartoon style used in the Wind Waker and the realism aimed for in Twilight Princess. Each area of Hyrule is easily distinguishable from the next, with picturesque coastal villages and cliffside forests offset by sandy deserts and white snowfields. These locations are brimming with character and detail, often having Link cross paths with the abundant wildlife or the odd local looking for a chat. The game also features its own day-night cycle, meaning you’re constantly running into breathtaking scenes completely organically – whether it be catching glimmers of a sunrise through thick forest treetops, or watching the moon hit the ocean’s surface as you sail on by.

The main aim behind this dynamic time system is not just for taking pretty screenshots of the sunset, however. Breath of the Wild, while also introducing a number of other innovations for the series, is very much based around survival. You’re able to keep track of the current time, incoming weather and other events that may immediately impact your journey. Travelling at night can be dangerous with more enemies on the road, however the darkness may give you the cover you need to creep into a guarded camp undetected. An incoming thunderstorm will strike you down if your gear conducts electricity, however the same goes for your enemies. Planning a long climb? Keep any eye on the radar for rain or else Link will find himself sliding straight back down. Becoming familiar with the best climbing techniques is one of the key aspects of Breath of the Wild – and you’ll be doing it a lot. Link is able to climb most vertical surface he comes across, creating almost infinite possibilities for traversal, puzzle solving and getting the drop on your enemies. Combine this mechanic with Link’s personal paraglider, and you’ll have all you need to spend hours soaring from Hyrule’s peaks and mountaintops throughout Link’s adventure.

In exploring off the beaten path, you’ll also find yourself duly rewarded. During the game’s tutorial area, you’re provided with a ‘Sheikah Slate’ – a small handheld tablet that is conveniently shaped like a Nintendo Switch. This functions as Link’s map, record keeper and key to all of the hundred-odd ‘shrines’ dotted across Hyrule. Each of these shrines feature a puzzle or combat challenge (some are a challenge to even locate), and overcoming them will net Link rewards such as new weapons, more health or increased stamina. These tasks are never too straining, with most shrines typically having one overarching puzzle design to get your head around. Most will require use of the Sheikah Slate’s abilities – such as conjuring bombs, moving magnetic items or freezing platforms of water – and the game’s total flexibility in their use often had me wondering if I was supposed complete a puzzle in the odd way that I did.

On top of this, many shrines (and areas in the outside world) will be littered with enemies for you to cut down, either with a large axe or the nearest available broomstick. In fitting with the survival dynamic, just about all weapons and shields Link finds are breakable. Flammable items become ash when torched, and that nice looking sword you pulled from a chest will fall to pieces given enough use. There are more than enough weapon options floating around Hyrule to keep you relatively well stocked, however you’ll have to determine which tools you can stand to lose – and which you’ll need to save for later. Deciding which of these items to use for a given fight adds to the game’s many puzzles, especially when challenging Link’s more intimidating foes.

Many of these most dangerous enemies will come about as part of the central story thread running through the game. There’s not a huge amount of directed story content, so I won’t spoil what’s there – though it will involve tackling a series of dungeons and bosses along the way. Unlike other entries in the Zelda series, these dungeons are much fewer in number and smaller in scale – essentially just larger versions of the game’s multiple shrines. They are rounded out with some decent storylines and scenes (featuring full voice acting almost never seen in the series), however the dungeons themselves could have been a bit more meaty. If you’re keen to step up the challenge a notch, the excellent and lengthy DLC content is a great option. Adding additional shrines, dungeons and restrictions, this bonus offering has some big prizes for those who have mastered Breath of the Wild‘s mechanics and combat. The final boss in this optional scenario is a reward in itself, and you’re also treated to some expansion on the game’s characters and storyline as well.

The story itself is minimal, but is well implemented and impactful. It succeeds in creating a cast of characters that have real stakes in what Link is trying to achieve, each given their own personality, goals, relationships and regrets. Zelda herself is also given a relatively central role, rather than being posed as a typical damsel in distress. The piecemeal-approach to storytelling provides an interesting and effective way of progressing the player through to the adventure’s end, especially when that conclusion could be tens of hours away.

However it’s not the plot and cast of characters that will define your play-through of Breath of the Wild, but rather the experiences and decisions you’ll make while becoming lost in its world. You’ll try experimental cooking with mixed results, end up stumbling across hidden tombs deep in tropical rainforests, and wander into rural villages full of their own quests and secrets. One of my most memorable moments came relatively early in the game, when I decided to climb an icy mountain using just an ugly coat and a positive attitude, a situation which almost found me frozen to death. Expecting to find another Shrine or perhaps another questionably rewarding Korok Seed, I instead found myself soaring through valleys in an attempt to rescue a creature taller than any mountain on the horizon. Such surprises are hidden in every corner of Hyrule, and your invested curiosity and exploration are almost always worth the effort.

It’s these moments that really make Breath of the Wild shine, and will keep you lost in its world for hours and hours. Pairing the game with the launch of the Switch was an absolute masterstroke by Nintendo, allowing players to easily dip their toe in whenever and wherever they like. Setting a new standard for all future entries in the series – as well as for gaming in general – The Legend of Zelda: Breath of the Wild is absolute gold brimming with so many possibilities. It’s an easy recommendation to anyone yet to start, and also to those who’ve experienced the adventure in the past. Regardless of how much time you spend in Hyrule, there’s almost always an unturned stone or breathtaking discovery waiting to be found out there in the wild.

The Legend of Zelda: Breath of the Wild is available now on Nintendo Switch & Wii-U.

Tags Breath of the Wild, Nintendo, The Legend of Zelda, Zelda

Movie Reviews

Pokémon Detective Pikachu

Post author By Mark
Post date May 14, 2019

Pokémon is a franchise that has been in my life since I was a child. I’ve played all the games as they’ve come out and watched the show religiously every morning. So it’s fair to say that I was equal parts excited and nervous about the series first foray into live-action cinema. The possibilities were endless, but why base the movie on a spin-off game majority of the franchise devotees had avoided? I’m happy to report that I was wrong. Pokemon Detective Pikachu is a great entry point into the live-action Pokémon world that, despite a somewhat paint-by-numbers story, always manages to leave you in awe at the creature realised on the big screen.

Let’s start with the most important point: the Pokémon. A lot of work has clearly gone in to redesigning these creatures to live in the real world. From the more prominent like Charizard, Bulbasaur and the little furry detective himself, to the lesser known like Rufflett and Octillery, a ridiculous amount of attention to detail has been utilised here to make each individual Pokémon seem like a living, breathing part of the environment. I never stopped being wowed by each new creature that stepped into frame and I found myself constantly scanning each scene for hints of new Pokémon. The visual effects team has done a marvellous job and it is a testament to their work that, in a film whose primary draw is to see these monsters realised on screen, this is easily the best and most rewarding part of the movie: trying to catch ’em all as you watch.

What isn’t as jaw dropping, however, is the story. Pokemon Detective Pikachu centres around the disappearance of Harry Goodman, the father of our protagonist Tim (Justice Smith) and partner to Pikachu (Ryan Reynolds). In order to deal with his father’s disappearance, Tim travels to the utopian Ryme City, a place where Pokémon and people live in harmony. He soon teams up with the talkative Pikachu, who he can mysteriously understand, and the two embark on a journey to unravel the mystery of what happened to Harry. Along the way Tim and Pikachu meet up with plucky young investigative reporter Lucy Stevens (Kathryn Newton) and her Pokémon partner Psyduck, a headache stricken duck who explodes if his stress levels rise. The story is all a bit basic, with twists and turns you can see coming from a mile away. What makes it forgivable though, is that it’s really just an excuse to see a range of Pokémon in their unique environments. While this may seem like an excuse, the cast, especially Ryan Reynolds as Pikachu, imbue the story with enough heart to get you through the somewhat lazy writing and on to the next big Pokémon reveal.

Reynolds shines as the titular detective, bringing the same level of humour and heart that he gives to his Deadpool character, albeit toned down here for a PG rating. His jokes, while they feature no swearing, will largely go over most kids heads and are there for the parents. However there are still plenty of jokes and slapstick humour for the little ones, making it a great choice for a family film, instead of something darker like Avengers: Endgame. The motion capture work done by Reynolds is top-notch, with Pikachu conveying a wealth of different facial expressions, whilst always remaining a believable, adorable little Pokémon. Justice Smith gets a chance to prove his acting chops here after a pretty lacklustre turn in last year’s Jurassic World: Fallen Kingdom. Rather than scream at the sight of anything remotely scary, Smith gets more to work with here – allowing him to show some emotional range as someone who feels abandoned by his father and who has isolated himself from the world and those around him, including Pokémon, as a result. It’s a testament to his acting that he is never overshadowed by Reynold’s yellow furball, holding his own and showing some quality comedic timing – the scene involving the Pokémon Mr. Mime in particular is hilarious, showing some strong physical comedic acting.

Kathryn Newtwon seems like she is in a different movie the first time we see her, playing the intrepid news reporter character very over-the-top, almost to the level of an anime character from the television show. She seems to have a better handle on the character the next time we see her and soon comes to play a major role in the proceedings. Where the acting gets really schlocky, however, is with Bill Nighy and Chris Geere’s father/son philanthropist duo Howard and Roger Clifford. It’s clearly a paycheck movie for Nighy, who channels about a tenth of the intensity from the Pirates of the Carribbean movies, and you can’t help but feel that he doesn’t really have an understanding of what he’s saying when it comes to Pokémon. Geere is, not to put too fine a point on it, ridiculous, making Kathryn Newton’s first appearance seem like she was in The Godfather. The way he delivers his dialogue and his physical acting in scenes is so over the top I was having trouble not laughing out loud at how bad the acting was. Apart from that, Ken Watanabe gives a solid performance as the police chief of Ryme city, and the pairing of him with the grumpy dog Pokémon Snubbull was a stroke of genius and leads to some of the best jokes in the film.

As an introduction and proof of concept of a live-action Pokémon world, Pokémon Detective Pikachu works wonderfully well. Despite a somewhat bland, obvious plot and some shoddy acting, Ryan Reynolds, Justice Smith and the army of VFX animators give you enough to fully invest in the world and the main relationship between Tim and Pikachu. I was always engaged by these two characters and was willing to go where the story took them, even if it did get a bit ridiculous at times. As a lifelong Pokémon fan, I was awestruck that my childhood had come to life on the big screen and I had a smile on my face for the entire runtime. I’m willing to forgive a few small missteps in story and acting if it means we get to spend more time in this world.

Pokémon Detective Pikachu stars Ryan Reynolds, Justice Smith, Kathryn Newtown, Ken Watanabe & Bill Nighy – in cinemas now.

Tags Bill Nighy, Detective Pikachu, Justice Smith, Kathryn Newton, Pokémon, Pokémon Detective Pikachu, Ryan Reynolds

Game Reviews

Pokémon: Let’s Go Eevee & Let’s Go Pikachu

Post author By Tydus
Post date May 8, 2019

Pokémon’s little yellow mascot takes the spotlight once again this week, making his live-action film debut in Warner Bros’ highly anticipated Detective Pikachu. While the movie is a big shift from what we’d usually expect to come out of the Pokémon universe, it does draw heavily from what made the series a worldwide phenomenon to start with – especially when it comes to the love it gives the titular hero. In celebration of its release (and due to just a smidge of hype), we’ve decided to revisit Pikachu’s most recent outing on the Nintendo Switch – in yet another quest to catch ’em all.

Being the second remake of a game from the late 90’s, the announcement that Pokémon: Let’s Go would be the first RPG in the series to hit the Switch was met with mixed reactions. Pokémon Yellow, the original from which this is based, hit its 20 year anniversary during the same year – so this new release had a nice bit of symmetry. However fans had been holding out for an entirely new adventure – one that would take advantage of the power and flexibility of the new Nintendo hardware – and so were torn to learn that they’d be getting a remake using mechanics from the popular free-to-play mobile game, Pokémon Go.

Despite this, Let’s Go still captured the majority of fans upon release late in 2018, predominantly because Nintendo and Game Freak had achieved exactly what they’d set out to do. This entry was never about further inflating the roster of catchable creatures or developing new regions and deeper competitive play – it was created as a celebration. A tribute to the series’ roots – its original characters, gameplay and world. In stripping back many of the franchise’s growing layers and complexities, Let’s Go was able to tap into what made series such a hit all those years ago – and in doing so, it was a success.

Before even starting the game, you have a choice to make. In usual Pokémon RPG fashion, the franchise’s first big Switch entry is split into two releases: Let’s Go Pikachu and Let’s Go Eevee. Both versions are almost identical, save for a few Pokémon exclusive to each version – and, of course, your partner for the journey. Your partner Pokémon will play a much larger role than in any past entry, often playing a role in most of the adventure’s story beats. It also has access to exclusive moves and, despite not being able to evolve, is strong enough to be an unassuming little powerhouse in battle. You’ll come across numerous outfits and accessories for them too, as they’ll be travelling out in the overworld with you at all times (they also come in handy as the game’s fast travel system and field-move users). What I’m getting at is that Pikachu and Eevee are central to just about everything that goes on, so make sure to pick your favourite before you dive in. Once you do get started, you’re quickly introduced to your chosen sidekick before being sprung into your new adventure across Kanto.

I use the word ‘new’ loosely here, with Kanto being the oldest and most recognisable region in all of Pokémon. However the Nintendo Switch has allowed for quite a significant step up with regards to how the game looks and plays. The towns, routes and characters of Kanto have never looked better, and – despite this huge facelift – almost every area of the game has been faithfully reconstructed as they were in the original. The path through Viridian Forest is still exactly the same as it was 20 years ago, and you can still pay an outrageous sum of money for a Magikarp in the Pokémon centre outside Mt Moon.

Yet for all its similarities, there are a number of changes that have been made in bringing the adventure to the current gen. For example, the Safari Zone has been completely removed and replaced by ‘Go Park’ – a dedicated area for connecting with the player’s Pokémon Go mobile collection. It’s a great way of bridging the two games and rewarding dedicated fans, but cutting the Safari Zone completely still feels like a misstep given its size in the original. This is only one of the changes arising as a result of Pokemon’s recent mobile success, with the classic Pokémon formula receiving some significant adjustments as well.

Let’s start with the battles, or rather, the lack of them. You will no longer battle wild Pokémon you wander through tall grass, dark caves or while crossing water. Instead, battles are strictly reserved for gym leaders and other trainers – of which there are admittedly quite a few across Kanto. The battles themselves are the same as always, albeit a lot more detailed and dynamic. Experience gained through these battles is shared amongst the entire team, meaning you’re not made weaker by the reduced battle practice you’ll be getting. You’ll also strengthen your team by catching wild Pokémon that you come across on the road, which brings us to the other major change introduced here.

Random wild Pokémon encounters are out, with the player now able to see each critter roaming about in the field. Gone are the days of tripping over the same Pidgey or Geodude every few steps, as you can now pick your next catch – or avoid them altogether if you like. Once you run into your target, the encounter itself will immediately be recognisable for fans of Pokémon Go – in that all you’re required to do is make a well-timed Pokéball throw to land a catch. This is fairly simple and fun when in handheld mode, yet docking the Switch and breaking out the motion controls is almost always a bad time. Your throws are often misread, and once you’re up against Pokémon who like to move around a bit, you’ve got no chance.

For the most part, these changes are actually a benefit to the adventure. Battles are more exciting and enjoyable because you’re not fighting off waves of Zubat and Tentacool every few minutes. Being able to pick and choose your next encounter is a huge plus, and the focus on catching rather than battling means you end up creating quite a collection without really thinking about it. These freedoms also allow you to enjoy your adventure without getting too bogged down in the workings of it all. The plot itself remains largely unchanged, having you make your way to the top of the Pokémon League – stopping briefly to dismantle a criminal organisation in the background when needed. There’s been a huge attention to detail in delivering the story here, with Oak, Brock, Misty, Jessie and James all looking exactly as you remember them from morning TV in the late 90’s and early 2000’s. There are also a number of easter eggs and references peppered throughout for long-time fans, right down to a marooned truck parked suspiciously off the docks of Vermillion City.

Whilst being positioned as a nostalgic love letter to fans who have been following the series for decades, Let’s Go also cements itself as the perfect entry point for a new generation of fans to step in. Shifting the formula to match the style of the insanely popular Pokémon Go creates an easy transition for many new players, and the reduced overall difficulty results in a smoother learning curve for less experienced players. You can even bring another player along for some couch co-op, taking part in joint battles and coordinated catches to make life even simpler.

The addition of these extras doesn’t mean that all of the game’s challenge is gone, however. Upon clearing the main story, you’re given the chance to earn ‘master’ titles from new trainers that have appeared all across Kanto. Most will require you to challenge their favourite Pokémon with an identical one you have raised – the battle deciding which of the two trainers should be named ‘master’ of that particular Pokémon. While it certainly creates a large amount of content after the credits roll, you’ll really have to ask yourself if it’s worth training almost 150 different Pokémon up to their absolute max – just to be named something like ‘Goldeen Master’. Otherwise you can track down some challenging trainers from the original games – or, better yet, take the Master Ball for a walk through the dark depths of Cerulean Cave.

Whether you’re returning to Kanto with years of experience, or you’re a newcomer starting your first adventure, Let’s Go does an excellent job of pleasing both sides of the spectrum. While erring on the side of the less experienced crowd more often than not, Nintendo and Game Freak have included enough challenge and nostalgia to appeal to the existing dedicated fanbase as well. Whilst not officially “core” games, meaning that not all of these changes will be carried into future instalments, Pokémon Let’s Go Pikachu and Let’s Go Eevee have provided a glimpse of what the future holds for the series – while at the same time recognising all that made Pokémon so special to begin with.

Pokémon: Let’s Go Pikachu & Let’s Go Eevee are available now on Nintendo Switch.

Tags Game Freak, Kanto, Let's Go Eevee, Let's Go Pikachu, Nintendo, Nintendo Switch, Pokémon

Movie Reviews

Long Shot

Post author By Mark
Post date May 5, 2019

Jonathan Levine faced a difficult task with his latest film Long Shot: making a modern romantic comedy that feels fresh during a time where most similar movies are generic and cliché-ridden. While Long Shot does occasionally employ a few of these clichés, the chemistry and comedic timing of Seth Rogen and Charlize Theron, the timely political setting and messages, as well as a veritable smorgasbord of amazing comedians in supporting roles, elevates the film above the rest of the pack.

Long Shot follows Fred Flarsky (Rogen), a talented yet hotheaded journalist who loses his job writing for a local paper due to his opinionated stance on the company’s acquisition by a media conglomerate. When Fred stumbles into US Secretary of State Charlotte Field (Theron) at a party, he and his childhood babysitter make awkward conversation, eventually resulting in an unlikely job offer – accompanying Charlotte around the world on a press tour as a speech writer. From here the story hits those familiar beats: the pair travel the world, becoming closer as they go until a relationship blossoms, they are then confronted by outside forces attempting to drive the pair apart – can they survive it? What differentiates Long Shot from its contemporaries the most is the heavy role politics has to play. The film is as much a commentary on the current political climate as it is a romance or comedy story. A key arc for Theron’s character is getting the environmental bill she has championed agreed to by world leaders, and it’s a topic that is more relevant now than it ever has been. Then there’s the push for Theron to run a presidential campaign, which asks the question “shouldn’t we elect the person who cares and is best suited for the job?”. Whilst Flarsky is a staunch democrat, the movie also looks at the the republican side of the debate too, raising issues about the increasing problem of blind public declarations of political support without a thorough understanding of both sides of the argument.

The best aspect of Long Shot is undoubtedly the chemistry between the two main leads. Rogen has shown that he is more than capable of playing the wild one in a relationship, just look at his brilliant turns in Knocked Up and Neighbours, but here he gets to play someone out of his depth. Flarsky is out of a job and down on his luck when he meets Charlotte, who is the complete opposite – well put together and at the top of her field. It’s a laugh riot watching Rogen try to ingratiate himself in Charlotte’s world, while at the same time resisting and voicing his opinions on every facet of her political world that he disagrees with. Some of the best jokes come from Flarsky’s misunderstanding of the life of a political candidate and, not to spoil anything, we get the obligatory Seth Rogen drug scene, which – in keeping with form – is hilarious and had the cinema howling with laughter. Charlize Theron proves that she can do no wrong and that she’s much more than just her Mad Max: Fury Road role, showcasing some serious comedy chops. She plays the character with just the right mix of seriousness and lightheartedness, which when combined with Rogen, makes for one of the most endearing on-screen couples in recent memory.

My favourite part about Long Shot however, has to be the stellar supporting cast. The film really helps shine a light on some brilliant comedic actors who might not be as well known to the general public. June Diane Raphael is wonderful as Theron’s assistant Maggie, and acts almost as a surrogate for the audience, in disbelief that this relationship is even a thing. Delivering her lines with a deadpan that will cut you to the core, she shines in the role and I genuinely hope that this pushes her into more roles in the future. The standout though is O’Shea Jackson, who has so many laugh-out-loud moments that I was almost annoyed when he wasn’t on-screen. He plays Rogen’s best friend Lance, who takes it upon himself to cheer Fred up following the loss of his job, and a scene where he leaves work in order to go party might have been the funniest of the film. Between this and an upcoming role in the new Godzilla movie, Jackson is forging a path for himself in Hollywood without relying on his father’s status, and I can’t wait to see what he does next. The film also features a slew of great actors in minor roles, all of whom crush their small parts, such as: Paul Scheer as a misogynist news anchor, Bob Odenkirk as a television actor turned president (sound familiar?), and Andy Serkis as a prosthetic laden, scenery chewing manager of a media company who vehemently opposes Charlotte’s environmental bill. It’s these small parts that really work to flesh out the world and bring in some comedy when the film decides to forego jokes from the leads to focus on the romance, and everyone gets a chance to shine.

While this may all sound perfect, there are still some flaws to be found in Long Shot. At a little over two hours, the movie is too long and enters some dry stretches where some cute romantic things happen, but nothing of real consequence to the story. This is here to flesh out the relationship more but it’s unnecessary given how invested we are in their relationship already through the jokes the couple share. The third act of the film also devolves into typical romantic comedy story beats, which was a shame given the stellar two acts that had come before. I was still invested in the characters, I just would have liked to see the momentum carried into the final act with some more jokes or a better executed finale.

Overall, Long Shot is a hugely enjoyable romantic comedy which will be a big crowd pleaser in a box office otherwise dominated by those avenging folk. While it does lose some of its momentum in the final act, there’s still plenty to love here and the chemistry and humour of Rogen, Theron and the entire supporting cast will ensure you walk away from this movie having gone through a pretty gruelling ab workout. Whilst it isn’t the best rom-com ever made, it doesn’t have to be and it certainly sits at the top of the pack in regards to recent offerings in the genre.

Long Shot stars Seth Rogen, Charlize Theron, June Diane Raphael, Andy Serkis and Alexander Sarsgård and is in cinemas now.

Tags Charlize Theron, Jonathan Levine, June Diane Raphael, Long Shot, O'Shea Jackson Jr., Seth Rogen

Movie Reviews

Avengers: Endgame

Post author By Mark
Post date May 4, 2019

It’s almost impossible to talk about Avengers: Endgame, the latest and possibly greatest offering from Marvel Studios, without spoiling it. The film is filled to the brim with the Marvel goodness that fans have come to love and expect over the 11 year franchise and there’s something for everyone to be found here; whether it be the jokes, the bonkers action (on FULL display here) or the perfectly crafted character interactions that make us all feel like kids playing with our action figures again. While the film will undoubtedly please most and shatter box office records, an uneven pace and some odd character choices may leave some slightly dissapointed.

Let’s start with the story, which I can only describe without spoiling things, as truly epic in scope as the Avengers must come to terms with the losses they have sustained and formulate a plan to fight back against Thanos (Josh Brolin). There’s been a lot of talk lately surrounding this film and the term “love letter” has been thrown around a lot. There’s really just no better way to describe it. Endgame works as its own individual story remarkably well, although it’s really a reward for the people who have stuck with the franchise through the last 21 films. The references are numerous and range from the totally obvious to the tiniest easter egg and I can’t wait to revisit the film time and time again to discover new tidbits, as I’m sure most Marvel fans will. The Russo Brothers and writers Christopher Markus and Stephen McFeely prove once again just how adept they are at taking the traits that we love about these characters and playing them off one another in new and exciting ways. This shouldn’t be a surprise given how great the character interactions were in Infinity War, but the additions of Ant-Man (Paul Rudd) and Hawkeye (Jeremy Renner) in particular, inject some new life into proceedings after so much of it was turned to dust. Rudd in particular gets to showcase why his particular comedy senses work so well in the Marvel universe and watching him interact with the founding Avengers was comedy gold.

Speaking of the founding Avengers, they all turn out the usual stellar performances which have been honed since their first stand-alone features, with Chris Evans and Robert Downey Jr. in particular proving why they are the faces of this truly massive franchise. Downey really gets to play with the psyche of Tony Stark in ways we haven’t seen before and it’s a joy to watch him tip between an overwhelming sense of failure and a rousing desire to fight back. Josh Brolin delivers another impressive turn as Thanos, imbuing the character with a sense of righteousness and confidence which is a hallmark of the best villains: he believes what he is doing is fundamentally right. Whilst Brolin’s motion capture work is extraordinary, Mark Ruffalo as the Hulk proves that he is one of the most impressive actors working today to sport the green tights and face dots. He’s given a lot more to work with here than in previous Avengers instalments and it is remarkable to see him stretch his dramatic and comedic acting muscles, displaying so much emotion through facial expressions alone. Speaking of comedy, an interesting decision was made here in regards to the treatment of Thor (Chris Hemsworth), who is saddled with the task of carrying majority of the film’s humour on his back. While he certainly manages it, and believe me there were some big laughs from him, the choice just seems like an odd overreaction of Thor’s response to the emotionally weighty events of the last film, and I can’t help but wish they’d done something different with him which stuck closer to how the character was represented in Infinity War.

Endgame clocks in at a meaty 3 hours and while this is necessary to conclude this chapter of the Marvel story, the pacing of the film suffers as a result. While we start off at a clip, carrying the momentum over from Infinity War, the film almost stalls and restarts as momentum must be rebuilt moving into the action-heavy final act. It’s an understandable shift given the events that happen yet it’s still jarring, and I found myself slightly let down that the film seems to lose the sense of urgency it establishes in the beginning at certain points. The scenes that do feel stretched out are weighted down by jokes and it almost feels at times as if the writers have been forced to meet the “Marvel quota” for laughs. While these scenes never stopped me from enjoying my time watching the film, they did diminish some of the emotional weight carried over from Infinity War. It doesn’t all have to be doom and gloom, but Marvel has proved before that they are more than capable of throwing in jokes that fit with the tone and don’t distract from the story being told.

As far as action goes, Endgame delivers in every way possible with some of the most ambitious fight scenes ever put to film. I won’t spoil anything but the last hour is jaw-dropping and worth the price of admission alone. The Russo Brothers began their Marvel career helming some of the best action set pieces in the franchise (the excellent elevator fight scene in Winter Soldier) and continued to top themselves in terms of scope in the Airport fight scene in Civil War and the Battle of Wakanda in Infinity War. This is easily their largest fight scene to date and it is ridiculously impressive how the duo managed to pull off fights this large in scope, whilst keeping the action completely grounded with the characters. The audience always has a sense of what is going on because the action is always tied to one of the heroes we have grown to love in past films.

Avengers: Endgame marks the end of an era, the culmination of an unprecedented franchise spanning 11 years and 22 films. Whilst not perfect, this is a wonderful celebration of the Marvel universe and a reminder of why we fell in love with these movies in the first place: they allow us to escape from our normal lives and enrapture ourselves in fantastical stories and characters that show us just how great we can be, whilst still being human and relatable at the same time. I felt like a kid again, sitting there staring at the screen in wide-eyed joy with a huge smile on my face for 3 hours. Is that not one of the most pure cinematic experiences you can hope to have?

Avengers: Endgame stars Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlett Johansson, Mark Ruffalo, Paul Rudd, Jeremy Renner, Karen Gillan, Brie Larson and is in cinemas now.

Tags Avengers, Avengers: Endgame, Black Panther, Brie Larson, Captain America, Captain Marvel, Chadwick Boseman, Chris Evans, Chris Hemsworth, Hawkeye, Hulk, Jeremy Renner, Mark Ruffalo, Robert Downey Jr., Scarlett Johannson, Spider-Man, Thor

Game Reviews

Final Fantasy X

Post author By Tydus
Post date May 3, 2019

Originally releasing almost 20 years ago during the early days of the Playstation 2, the Final Fantasy series’ tenth main entry has seen a number of ports in recent years – all sporting a HD facelift to match. Leaving no stone unturned, you’re now able to take the journey through Spira on Xbox One and Nintendo Switch – the latter offering what is possibly the best way to sink hours into this meaty JRPG. And chances are, you’ll be sinking a whole lot into this one.

I should really start by saying, FFX rocked my 10-year-old world back in the day. Even after all these years, it still holds a soft spot for me as my first entry into the series – and probably my real first foray into story-driven games. Prior to this, my experience with gaming was based solely around jumping on crates, finding all the coloured gems and generally catching ’em all. I was too young to really tap into the game’s strategy and party building mechanics, but the underlying elements – the story, characters, setpieces and soundtrack – more than made up for my total lack of any skill as a wide-eyed RPG newbie. Over 10 years and several playthroughs later, it’s safe to say that these elements are still the biggest draw for me when it comes to picking up the adventure again.

For the uninitiated, FFX puts you in the role of Tidus, the young ‘star player’ of the biggest sports team in the city of Zanarkand. Through the opening scenes, the futuristic city is set upon and destroyed by an evil entity known as ‘Sin’. During the chaos, Tidus makes his way through his crumbling home and somehow gets himself pulled through a rift to places unknown. While searching for his way back, Tidus crosses paths with Yuna, a summoner of beasts who – along with a small group of ‘guardians’ – is travelling to Zanarkand in the hopes of destroying Sin. From there, you’ll travel down a relatively linear path across the major cities, villages, islands, temples and dungeons within the vast and beautifully realised world of Spira. Being an outsider – both as a character and as a player – you’ll spend much of this time slowly unravelling the stories of your multiple companions, as well as the world’s history and shaky reliance on religion and ancient tradition.

While it becomes quite complex towards the end of the journey, the plot is executed well and at a good pace. You’re never far from the next story beat, with each presenting a new piece of history, a better understanding of a complex character or a wrench thrown into carefully laid plans. A trip over an ancient, snow covered mountain will hit a wall, as one of Yuna’s guardians runs into the tribe he abandoned there years ago. Another member of your group will suffer an internal crisis when forced to cut ties to a religion he’s built his entire life upon. Watching these characters overcome their challenges and personal demons is half the story, it gives them real stakes and ties to the world they’re trying to save.

If you’re thinking this all sounds a bit like a sci-fi soap opera, you wouldn’t be wrong – however it’s not always traditional drama and danger during the group’s travels. Throughout the 30-40 hour adventure, the cast will be struck by lightning (more than once), crash a shotgun wedding, play in a championship underwater football game (the brilliant Blitzball) and will ride on the backs of 7ft tall yellow birds. While all these things sound like a circus on paper, each aspect is given a surprising amount of weight and relevance to the story at large. When that main storyline is teeming with revelations, betrayal, romance, death, religious subplots and complex twists, these left-field surprises offer a refreshing change of pace.

While story and characters are pivotal to any good fantasy game of this type, much of the action does come from testing your mettle against those that cross your path on the way. When you’re not deep in a well choreographed cinematic or major plot event, chances are you’ll be dealing with many of the game’s ‘fiends’ – creatures formed from spirits of the restless dead, unable to leave their former world behind. These monsters will range from small wolves and overgrown wasps, right through to ancient golems and zombified dragons – each generally requiring a different strategy or character to go toe to toe with.

While fairly adjustable in the late game, most of your party members will be a specialist in a general RPG role – swordsman, black mage, tank, thief and so on. Your swordsman will be able to quickly strike through smaller enemies, while your black mage will ignite icy monsters with the wave of a hand. Similarly, the team’s ranged specialist will make short work of airborne fiends, while the thief pulls mechanical enemies apart piece by piece. You’re free to fight enemies any way you like, however there’s almost always a weakness to be exploited. But if there isn’t, you can always fall back on one of Yuna’s summonable ‘aeons’ – great beasts bestowed upon her throughout the adventure to aid in destroying her ultimate enemy. These beasts are truly grand in scale, ranging from a ladylike nymph made of solid ice, right through to an enormous mummified monstrosity that is not in keeping with Yuna’s otherwise calm and pure appearance. While calling on these spirits can give you an edge in combat, many of the later bosses will have means of shutting them down to keep you on your toes.

I should also mention that all battles here are fought using the old school turn-based system, which means random encounters and waiting your turn to take a swipe at something. You’ll be able to know the order in which your enemies and your party will attack, allowing you to plan out each play and anticipate what you’ll see in return. It’s done well, but might catch modern RPG audiences off-guard at the start. It’s probably best to not get your hopes up for any of those other modern RPG conveniences making their way to these ports either. While the remasters have brought overhauled visuals and a great new soundtrack, there have been no extras for the console version as there have been for other recent ports in the series. There’s no speeding through battles and story beats at the press of a button, and there’s no option to skip cutscenes. If you’re a veteran returning for another playthrough, or even trying to get through a bunch of scenes to the battle that just sent you back to the main menu, these extras would have been handy. That being said, FFX is built on its well told and engrossing plot, so you can’t really blame them for fleshing this out in grand scenes and events as much as possible.

It also helps, then, that one of its most recent ports has been to the Nintendo Switch. While it’s been available on a portable device for some time, releasing on the PS Vita a few years back, the Switch allows it to be played on a much larger and more powerful screen for a wider audience. Being able to pick up and play FFX so easily is a huge plus, whether you’re looking to simply see the climax of the story, or if you’re aiming to sink many more hours into the tale’s optional late-game content.

If you’re in the latter category, your primary concern will be Spira’s multiple hidden super-bosses – the ‘Dark Aeons’. These are the corrupted forms of Yuna’s collected beasts, and you best believe they’re a challenge. They will almost definitely require a party of maxed-stat characters, each equipped with their respective upgraded ‘celestial weapons’ (a feat that requires a crafting process on a whole other level). Alternatively, you can instead lose hours to a deep and complex Blitzball career, travelling the world recruiting and developing an unbeatable team for various rewards (but mainly for that sweet, intangible glory).

However you choose to spend your hours along the way, FFX continues to offer a genre-defining experience full of diverse and interesting characters, compelling storylines and a fantastic soundtrack. The linear nature of the world will seem a little dated by modern standards, but it does help to keep the plot engaging and rolling forward with a decent pace. A must-play for fans of the franchise – and a good place to start for those looking to dive in – FFX is just a quality old school JRPG that can sink its hooks in and steal an entire weekend. Heck, I’m probably sitting in front of the thing somewhere right now.

Available now on PS2, PS3, PS4, PSVita, PC, XBOne & Nintendo Switch

Tags Final Fantasy X, Square Enix, Tydus