LATEST ARTICLES

Review – Bears In Space

Alaisdair Leith
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Review – Bears In Space

Prepare for a wild ride through the cosmos in Bears in Space, a retro-styled, single-player first-person boomer shooter that delivers a ton of shooting action, along with sprawling platforming sections, collectibles, gorgeously rendered set pieces, and epic boss battles. Developed by the passionate team at Broadside, this game blends absurdity with solid gameplay mechanics to create a nostalgic and entertaining experience 

The game has a fairly straightforward premise, you play as Maxwell Atoms, a senior space hero who merges with a giant Bear named Beartana after a hilarious mishap aboard his spaceship (I know! This premise, stick with me, it pays off I promise!) Crash-landing on a planet filled with hostile robots sets the stage for an adventure spanning factories, dungeons, medieval villages, and even a space carnival as you strive to return to Earth in one piece. After the bear-merging your character is now equipped with super-human abilities, including the standard video game fare like double jump, dash, and the ability to transform into a giant bear after consuming honey. 

The game’s playful tone permeates every aspect, from its goofy storyline to its arsenal of bizarre and crazy weapons, including the rubber band anvil launcher and the duck gun that turns breadcrumbs deadly. You can level up these weapons and apply upgrades simply by using them. Trying to pick up ammo is a lesson I learned the hard way. You need to purchase ammo, which can be done from the business robot Victor Spendley, who has various outlets scattered through the levels. Combat is frenetic and challenging, requiring quick reflexes and strategic weapon cycling as you face off against waves of enemies. The ability to replay levels and uncover hidden secrets adds replay value, which had me go back to find every collectible and try out new weapons I collected on enemies I struggled with earlier in the game. It really is just so much fun, you will want to go back and replay each level. 

Visually, Bears In Space embraces its retro roots with chunky, colourful graphics reminiscent of retro platformers. It reeks of nostalgia in all the right ways that make it feel comfortable and was something that you can just sink right into. This works in hand with the sound effects that, while repetitive and unique, work in sync with the visuals. The game has a unique sense of humour and style in the writing that is reminiscent of cartoons from the early 90’s fused with a Rick & Morty wit that will resonate with fans who love this style. 

Despite its charm, “Bears in Space” isn’t without its flaws. Occasional technical issues like freezing on startup and stuttering cutscenes do soften the experience, but these are minor inconveniences in an otherwise enjoyable adventure. It is worth nothing that the majority of this review was conducted on a Lenovo Legion Go with some levels on PC, there were less technical issues on the Legion Go than PC, and I found this a great title to pick up and play on the go. It also handles well when you detach both triggers and use Joycon style. 

Overall, “Bears in Space” earns its stripes as a delightful romp through a quirky universe. With its excellent gameplay and endearing characters that ooze with charm, it’s a must-play for fans of retro boomer shooters and those seeking a lighthearted gaming experience. There is tons of replay value here so you initial foray into the world will beg further exploration. Just when you begin to feel comfortable, the game has no issues throwing things at you entirely out of nowhere and re-capturing your interest when you think you have everything figured out. It is a really difficult game to define and peg into one specific genre, and this is exactly what makes it a gem. 

Review – Maestro

Alaisdair Leith
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Review – Maestro

In Maestro, Bradley Cooper endeavours to narrate the life of Leonard Bernstein, an artistic luminary of his generation, conventionally adhering to the well-worn path of a standard biopic with familiar tropes and a linear narrative that has Cooper’s directorial lens that elevates this film, creating something extraordinary and unforgettable in the 2023 cinematic landscape.

While Cooper, directing and starring as Bernstein, delivers a technically dazzling film. The script, co-written with Josh Singer, follows a predictable, episodic structure, chronicling events in a chronological sequence. This allows for the specific moments in Bernstein’s career and life to breathe and resonate before moving onto the next.

Following this sterotypical structure, Maestro merits attention. The film consistently captivates from an aesthetic standpoint, showcasing remarkable cinematography, costumes, and production design that evolved over the 40-plus years of Bernstein’s life. Behind the camera, Cooper skillfully creates a cinematic experience that seamlessly transports audiences through different eras, employing techniques like shooting in high-contrast black and white and Academy ratio. The meet-cute between Bernstein and Felicia feels like a scene straight out of Casablanca.

The attention to detail is evident, with Cooper dedicating six years to perfecting his conducting skills for the climax of the movie —a six-plus minute recreation of Bernstein leading the London Symphony Orchestra. The film’s visual and auditory elements and inspired transitions by editor Michelle Tesoro make it a must-see on the biggest screen possible. The score and audio mixing here are incredible. Provided by the London Symphony Orchestra, the score and performance pieces soar over the visuals, while it is best seen in a cinema, a home theatre and soundbar will be more than up to the task of making these moments extremely impactful.

While Bernstein’s music is an integral part of the narrative, the film falls short in providing a deep understanding of him as both a musician and a man. The performative nature of his existence, influenced by his closeted homosexuality, keeps the audience at a distance. The complex relationship with Felicia, played by Carey Mulligan, is explored on the surface, unfulfilled quality to the characterisation here. That’s not to say it doesn’t work, there is just not enough shown from Felicia’s side of how she dealt with this and what the ramifications of this were (it could easily be another movie!)

Mulligan’s performance is noteworthy, showcasing genuine chemistry with Cooper. Yet, Felicia often finds herself in Bernstein’s shadow, a poignant metaphor depicted visually. As the years progress and Felicia finds herself at odds with this, you can really feel the tension in their relationship, but they still share a deep love for each other. Cooper and Mulligan have crafted one of the most interesting on-screen couples this year, with performances that will be long remembered and potentially career-defining for both actors.

The decision to use elaborate prosthetics on Cooper has been a point of discussion, but the makeup work by Kazu Hiro is convincing, especially in portraying Bernstein’s older age. Cooper fully envelopes the role which is really exentuated with the wild hair and sweating as he gets older and the stress of his work and double life start to take its toll.

Despite its flaws, Maestro deserves recognition for its daring portrayal of Bernstein’s life. The film’s emphasis on queer themes and content, though not fully explored, adds an inspiring dimension to the narrative. While it doesn’t dive too deep into the complexity of this double life, it does offer a glance into By taking risks akin to Bernstein’s own artistic endeavors, Maestro stands ahead of the pack when it comes to biopics which is excelled by Cooper’s work in front of and behind the camera. His dedication to completely enveloping this character while exploring Bernstein’s life and acheivements. With its technical brilliance and captivating visuals, the film earns a commendable five stars.

Maestro is streaming on Netflix from December 20.

Review – Last Night in Soho

Nick L'Barrow
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Review – Last Night in Soho

By Nick L’Barrow

I will confess… I wasn’t the biggest fan of Edgar Wright’s 2017 film, Baby Driver. In fact, I walked out of that movie quite disappointed. After the slew of success with the entertainingly brutal and bloody Cornetto Trilogy and the hilarious, video-game-esque Scott Pilgrim vs. The World, it felt wrong that Baby Driver was such a misfire in my mind. I just couldn’t understand how a movie by Wright could be so stylistic yet so incredibly average story-wise. However, I wouldn’t let one movie out of Wright’s filmography turn me away from his future work. When I initially heard that his new film, Last Night in Soho, would be more of a horror/thriller, I was certainly intrigued, but I couldn’t shake the feeling of ‘cautious optimism. I stayed away from all trailers and as much marketing material as possible (I would even close my eyes and plug my ears in the cinema when the trailer showed before other movies, looking like an insane person). I even stayed away from the reviews when it premiered at the Venice and Toronto Film Festivals. And boy, am I glad I did because Last Night in Soho is a strength-to-strength piece of cinema from the British filmmaker that feels like the movie event many cinemagoers have been longing for since the start of the pandemic.

Eloise (or Ellie, as she prefers to be called, played by Thomasin McKenzie, Jojo Rabbit) has been obsessed with all things pop culture-wise since the 1960s. Movies, music, and fashion are at the forefront of the dream life she wishes to live. Having to move from her small town of Cornwall to London to pursue her dream of becoming a fashion designer, Ellie rents a room from an elderly lady in Soho. Feeling an odd connection with the room she is staying in, during her first night’s sleep, Ellie is mysteriously transported to the 1960s, where she has visions of an upcoming yet troubled singer called Sandy (Anya Taylor Joy, The Queen’s Gambit). As her dreams become more lucid and sinister, Ellie unwillingly begins to merge her two worlds, fantasy, and reality.

It’s almost a standard for movies today, but the less you know about where the story of Last Night in Soho goes, the better your viewing experience will be. This is an engaging and intriguing story that goes in many unexpected directions. Still, the script was co-written by Wright and 1917 screenwriter Krysty Wilson-Cairns, which genuinely draws you into the film’s mystery and begs you to let the story unfold in front of you and enjoy your time at the cinema. The script uses visual and thematic horror elements to create an account that serves as a cautionary tale about obsession, with a side of genuinely sinister character motivations that bring a consistent feeling of tension throughout. There will undoubtedly be moments and aspects of the film that won’t work for everyone, especially in the third act. However, within the movie-logic and artistic liberties taken by Wright and Wilson-Cairns, the craziness of the finale is satisfying and enjoyable.

Edgar Wright has created a visually intoxicating film that will captivate your senses. A trance-like element within the cinematography with neon lights and mirrors (reflection being a prominent theme within the story) creates the dream-like feeling of the scenes set in 1960s Soho. Every shot is a magical painting, carefully constructed for its place within the story. The use of mirrors is phenomenal and adds a sophistication to the film, both technically and thematically. There wasn’t a moment during Last Night in Soho that I wasn’t enthralled by what I saw on screen. However, the film highlights a dance sequence that expertly and flawlessly transitions between our two lead characters (Ellie and Sandy) dancing with the same partner. This may well and truly be Wright’s most visually beautiful film to date, and that’s saying something considering his visual filmography leading up to this point in his career. It just must be seen to be believed!

In her first actual leading role, Thomasin McKenzie is outstanding as Ellie. Ellie is reserved and quiet, but she is also filled with a firm tenacity. When it is opened after a few hallucinatory encounters with Sandy, it really allows McKenzie to thrive in this performance. Anya Taylor Joy is stunning as Sandy. Encapsulating the seductiveness that was seemingly required of a singer in the 60s to succeed while also hiding her own ferocious tenacity behind the performer’s mask brought some incredibly thrilling moments during her character’s arc. And finally, Matt Smith (Doctor Who) pulls off the charm-filled manager who offers Sandy the world on a platter but undoubtedly has more sinister intentions, with ease, and allows his acting chops to fly with some genuinely intense moments later in the film.

Last Night in Soho is capped off with an outstanding soundtrack. Never shying away from his love of music and how it’s used in the film, Edgar Wright has orchestrated equal amounts of spine-tingling and upbeat nature with the music used in this movie. Whether it’s eerie musical notes or the song’s lyrics setting up the scene’s tone (and inclusive of a beautiful rendition of Petula Clark’s Downtown performed by Taylor Joy herself), the music is just as much an important character within the movie.

While its ending may divide some audiences, I believe that Wright has created yet another incredible film with Last Night in Soho. This movie diverts from his usual action-packed-comedic outings in turn for a genuinely thrilling, always visually stunning tale that is captivating both technically and thematically. Helmed with outstanding lead performances that will lure you into the trance-like dream of a story and not let you go until the movie is over, Last Night in Soho feels like the movie that we have been waiting to return to cinemas for.

Letter From The Editor – Covid 19 Policy

Alaisdair Leith
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Letter From The Editor – Covid 19 Policy

As the country opens back up again, our hub in Victoria are still locked down. You will notice that we have been posting reviews of Tenet, The Secret, Unhinged and a couple of movies that are coming out this week.

We are a national website with writers in NSW, QLD and VIC. Our counterparts in these states will be providing these reviews in line with Novastream’s Covid Safe policy which includes only reviewing films where an online screener has been provided by the studio, if required in person we are asking our writers to attend a drive-in theatre as a priority. If these options aren’t available our cinema screenings are restricted to those who are practicing covid safe practices and have a Covid Safe plan in place.

If you are thinking of heading to the movies in the next few months we recommend checking the Corona Virus Government information here https://www.health.gov.au/news/health-alerts/novel-coronavirus-2019-ncov-health-alert before making a solid decision to head into a cinema.

Much like you we can’t wait to get back to the movies and catch up on all the great films we missed during these lockdowns. There are tons of great films coming out on VOD if you don’t feel ready to venture out and we are committed to reviewing these and letting you know the best things to stream.

We hope you are all staying safe during Covid-19.

Fast & Furious: Hobbs And Shaw

Jason Cook
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Fast & Furious: Hobbs And Shaw

The Fast & Furious franchise knows its market very well: explosions, action, cars and a storyline you don’t need to follow. Hobbs & Shaw is the first in the series of planned spin-offs and to give a little injection before the next Fast & Furious film hits the screens in 2020. While it’s a far cry from its origins, Hobbs & Shaw is the fresh overhaul the franchise needed.

When a highly deadly virus threatens to fall into the hands of Brixton (Idris Elba) a mechanically modified human, it goes into the hands of an MI6 operative Hattie (Vanessa Kirby).

Things turn south when Hattie is framed for taking the virus while Brixton hunts her down. Brought in to help stop the virus from being spread is Hobbs (Dwayne Johnson) from Las Angeles and Shaw (Jason Statham) from London.

With a checkered past, Hobbs and Shaw not only fight to save Hattie and get the virus into quarantine, they also fight and bicker between each other.

Taking the fight to Samoa to get the help of Hobbs brother and his unique ability to build and rebuild things, the battle of all battles goes down all the while without any guns.

As to be expected there are some nice cars and some pretty cool vehicles as a whole. And for the most part, they get driven fast. Mind you, there is an obvious lack of the two compared to some of the other Fast & Furious films.

There is some amazing special effects and stunts throughout the film. From a helicopter lifting 4 cars trying to weigh the chopper down. To the automated motorbike that seems to be able to shapeshift depending on the circumstances.

Where this film stands out is in the good old fight scenes. The choreography is rather spectacular and doesn’t feel staged at any point. This is a downfall with most of Johnson’s films where his fight scenes are a little like The Rock fighting in WWE.

Hobbs & Shaw isn’t a film that requires a particular level of acting. However, Johnson and Statham bring just enough for it to be a good performance from them both. The performance that overshadowed the two was from Idris Elba (Thor, Prometheus, Star Trek Beyond) who plays Brixton.

Elba plays a mechanically modified human who happened to need the modifications to survive a shooting from Shaw some years back. Elba plays an angry and calculated character that seems to not only struggle to answer to someone else but also thinks he is above any authority. He has so much going on physically and also mentally that he overshadows the other actors in the same scene.

The other scene-stealer is that of Vanessa Kirby (Mission Impossible – Fallout, The Crown, Everest) who plays Hattie. She plays down the sexiness yet seems to ooze appeal. Kirby manages to pack in as much emotion to her scenes to bring her character to life without relying too much on humour.

Overall Fast & Furious: Hobbs & Shaw takes a product that has been working for some years and given it a little fresh lick of paint. The great thing is it doesn’t pretend to try anything new or do anything too differently. It’s just a bit of fun with some nice cars and some good action.

Review – Toy Story 4

Seth Eelen
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Review – Toy Story 4

The announcement of a fourth Toy Story chapter, felt like an easy cash grab for Disney, after the huge success that was the concluding Toy Story 3. After watching the first trailer and synopsis, I still wasn’t sure if this was gonna work. So being a bit cautious of seeing these beloved characters coming back nine years after we said goodbye to Andy, I can say – no need to be afraid. The toys are dusted off and look better than ever!

The film opens with a flashback to a rainy night where our toys are still happily living with Andy. Woody (voiced by Tom Hanks) and Bo Peep (Annie Potts) are getting ready to rescue RC-racer – a radio-controlled toy car – that’s been stuck in a gutter and is about to be dragged into the sewers, if not saved in time. This is an exciting opening to get you right into the story and remind you of the bond these toys have with each other. “No toy gets left behind“, like Woody says multiple times throughout this franchise. This scene also shows how close Woody and Bo’s relationship just was, which gets torn apart moments later when the lamp that houses her and her sheep is given away.

Almost a decade later, after Andy has passed his beloved toys to young Bonnie, we see her playing with all of them, although Woody gets pushed aside more often as time passes. He gets left in the closet with some of her baby toys. But when Bonnie has to attend her orientation day for kindergarten, Woody sees an opportunity to sneak into her backpack to look after the nervous girl. In class, a selfish kid grabs Bonnie’s art supplies and drops some in a bin, where Woody jumps in to save some of it – along with bits of rubbish – which leads to Bonnie creating Forky (soon discovered to be a toy, voiced by Tony Hale), a spork with popsicle-stick feet, googly eyes and pipe-cleaner arms. The family has a new member.

Bonnie adores Forky, but having an existential crisis, this spork knows it’s trash and feels like his only destination is the trash can, his safe haven. Woody, so longing for a purpose, takes it upon himself to keep rescuing and returning Forky, which will only get harder when Bonnie and her parents embark on a road trip in an RV. A journey on which we will meet carnival toys (Ducky and Bunny – voiced by Keegan-Michael Key and Jordan Peele), a Canadian stunt-motocross action figure (Keanu Reeves as Duke Caboom – the coolest and most breathtaking toy ever created) and a manipulative vintage doll (Christina Hendricks as Gabby Gabby) who’s stuck living in an antique store, ready to do whatever’s needed to live a blissful life. 

The emotions run high, with stunning animation and imagery all around. New characters that will win over your heart and make you laugh out loud with the funniest one liners. Did I really expect anything less, after three exceptionally strong films in this franchise?! Shame on me.

Toy Story 4 is an adventure full of subtle messages and metaphors, that carries on the legacy of its original trilogy. Disney/Pixar has done it again – a sequel that not only works as an ending, but also as a new beginning. When we get to chapter 5 (because let’s be real, this is gonna kill it at the worldwide box office), these characters will have seen so much more than just the walls of Andy/Bonnie’s room and have experienced what “letting go” really means.

Toy Story 4 is playing in Australian cinemas this Thursday!

Review by Seth Eelen

Review – Xmen Dark Phoenix

Alaisdair Leith
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Review – Xmen Dark Phoenix

It’s time to say goodbye to our favourite mutants, after 19 years of films the franchise is coming to a close with a re-telling of the Dark Phoenix story. If this sounds familiar it is because they attempted to do this in 2006’s X-men : The Last Stand and while it didn’t go down to well with fans, Fox have given the story line a movie of its own to send the X-men off ready to be rebooted by Disney somewhere in the future. What should have been a fond and memorable farewell turned out to be a forgetful throwaway film with great performances with a mediocre story that suffers from horrible pacing issues that make it feel like 2 or 3 different films smashed into one 100 minute disappointment.

It is set a couple of years after Apocalypse with the X-men in generous public favour with action figures, screaming fans and a hotline phone direct to the President of the United States. When a spaceship launch goes awry the X-Men head into space to assist when Jean Grey (Sophie Turner) is exposed to a cosmic power that enhances her mutant powers making her more powerful than anyone else on the planet. When Jean starts acting erratic her X-Men friends Raven (Jennifer Lawrence) Beast (Nicholas Hoult) jump in to try and help her control the power, however things don’t go according to plan and when Jean is confronted by a mysterious alien played by Jessica Chastain who is trying to take over Earth and eradicate humans Jean must decide if she will use her power for good or evil.

Elsewhere Professor Xavier (James McAvoy) is riding high on the fame of their recent relationship with humans. He is shown revelling in the joy of being on talk shows, hosting benefits with wealthy clientele, on the cover of books and action figures. A good portion of the story explores his history with Jean and how he found her after the accident as a child. The first half of the film explores the relationship of and what can happen when trauma is suppressed rather than dealt with. It really explores the idea well and loops in the other characters, particularly Raven and Beast, who are the last of the” First class” still hanging around the X mansion. Showcasing a different side to Xavier was a risky move, I don’t know if this trait is ever explored in the comics, here it does feel a little surprising in keeping with this character. That being said showing a more human side to Charles was interesting to watch.

Perhaps the best part of the film is Lawrence, her performance as Raven is flawless. She is constantly the voice of reason, in particular one fitting line “The women around here are constantly saving everyone else, we should be called the X-Women” which on a side note did get a cheer from the crowd in our session. If this wasn’t enough character drama, Magneto (Michael Fassbender) is sought out by Jean after she feels betrayed by Charles. He is running a commune separated from the rest of society. He is joined by hair braid whip man and another mutant who can read and control minds. When they feel the weight of what Jean can do through a helicopter battle, Magneto rejects her as well causing Beast to join his side in an attempt to kill Jean for her recent decisions.

It’s really from here that things go downhill. The film moves at a sluggish pace with sprinklings of action pieces littered through them. If it wasn’t for the solid performances it would be a complete wash. This then changes gear again in the third act with an epic train battle and final showdown that struggles to be as epic as the final scene in the final X-Men movie should be. The train sequence is far too long and while some of the CGI looks incredible, others look like a direct to VHS movie from the 90’s (Storm). Most X-Men films are epic in scale and have weighty action that coincide with the story. Here the story is told with an odd pacing that doesn’t ignite to be either good or bad, it just falls kind of flat. The train wreck scene really feels like it is a different film and with the epic battle being wrapped up pretty quickly, it rarely lingers long enough to leave a memorable impression.

The visuals in this film are great, the Phoenix effects that run through Jean and encompass her are beautiful to watch (and may just remind you of another recent Marvel superhero). The train scene while being shown at night is nothing short of spectacular. The way that Magneto rips the train apart trying to destroy the aliens is a lot of fun to watch and every mutant gets their moment to shine. It is a fast and furious fight scene with great cinematography by Mauro Fiore set against the night country side. In a lot of blockbuster movies night action scenes can be blurry and hard to see, fortunately this film avoids that delivering dazzling action sequences that effortlessly float between inside and out of the train.

While the special effects are spectacular, the script is severely lacking. In fact, I would even go so far as to say if they have spent more time on the this than the special effects it would have been a much better film. The first half of the film has a solid story exploring themes of trauma, abandonment, fame and family. It is balanced quite well for this portion of the film and is actually intriguing to see how it all wraps up. Where it falls is the obvious re shot second half of the movie that kind of throws these out the window for spectacle.

X-men : Dark Phoenix had the potential to be a big farewell to these characters we have loved (and hated) for the last 19 years. Regrettably a good story was compromised for spectacle and the film suffers from poor pacing and a generally flat tone. Fortunately the actors deliver solid performances, in particular Lawrence and Turner steal the show here showcasing the boundaries of family and fame. Fans of the series may be disappointed by the lacklustre finale (particularly if compared to the 90’s TV series plot line of Dark Phoenix)

Review by Alaisdair Leith

Review – Godzilla : King Of The Monsters

Alaisdair Leith
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Review – Godzilla : King Of The Monsters

After the lacklustre reviews and reception to the previous film, the spectacle still made enough box office dollars to greenlight a sequel and kickstar a “Monsterverse” with Skull Island and a pre-announcement of Godzilla Vs Kong for 2020. This time around we get a broader cast with Vera Farmiga, Kyle Chandler and Millie Bobby Brown coming into the mix. The teasers have promised us a slew of monsters with Mothra, Rogan and the three headed Ghidorah. While this had all the promise of epic action monster filled mayhem, the film instead spends way too much time focusing on the humans and their confusion and trapsing around the globe to different dig sites chasing an eco terrorist. All of this results in the biggest disappointment with a small portion of the film focusing on the monsters and way too much time on the one dimensional human characters with a really weak and stereotypical script.

The film is set in the current day with 5 years since the last installment. The world is rebuilding after Godzilla saved the human race from the titan attack. The agency tasked with tracking down all of the Titan sites Monarch are monitoring and securing the other titans who seem to be thawing out, defrosting and uncovered as the world is searching for Godzilla after he mysteriously disappeared after the events of the first film. Dr Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) are living in a rainforest in China trying to figure out how to communicate with Mothra. When Emma is captured by the eco tertrorist Jonah (Charles Dance) who is trying to release the titans to cleanse the earth of the plague of humanity, it is up to the crew at Monarch and her husband Mark (Kyle Chandler) to free her and stop the titans from being released and destroying the world. Oh and Godzilla is in there somewhere as well right?

My biggest issue with this film is the awful script filled with stereo typical cliched lines, predictable scenarios and one dimensional characters we spend way too much time with. Instead of setting the monsters free and watching them fight, we are subject to an endless slew of human interactions that offer nothing of significance to the story apart from exposition machines. Oh and there are a couple of monster fights that fill out maybe 20 minutes of this 2.5 hour film.

The score is grand and sweeping from Bear McCreary. MCCreary incorporates themes from Akira Ifukube’s previous work in Japanese traditional Godzilla films. While this is definitely the highlight, the unique roar that was given to Godzilla in the first film has all but disappeared in this version. The long roar with the winding wail at the end was such a thrill to hear in the cinema in the previous film and is a definite missing component in this sequel.

The creatures themselves are gorgeous. The attention to detail on Mothra is particularly when she opens her wings is breathtaking. There is a detailed colour and patterns that are completely mesmerising. This is accentuated when she emerges from the waterfall and the combination of light, water and colour transforms the screen. By comparison the three headed dragon Ghidorah looks cheap and awful. There is a particular scene in a football field with Madison that looks horrible now and will definitely not age well. It’s a shame because in far away shots Ghidorah looks amazing, partricularly when lightning is pulsing through it. There is a shot in Mexico that pans out next to a large cross that looks incredibly beautiful. And then there’s Godzilla. the big guy looks pretty much the same as the previous film. The lightning/radiation effect that pulses through his body and tail does look much mroe detailed this time around, and there are a few underwater scenes where he looks odd floating in the water.

There have been films in the past that show too much of the monster and then some that expertly show just enough to have great balance, but also well rounded and interesting human characters. Regrettably this film doesn’t know which one it wants to be and drifts somewhere in the middle, delivering an incredibly underwhelming experience. The end of the film does build the hype for the Kong Vs. Godzilla film due out next year, but after this underwhelming installment it may be back to the drawing board for Godzilla films if they can’t get the balance right.

Godzilla : King Of The Monsters is in cinemas Thursday May 31.

Review by Alaisdair Leith

Review – Missing Link

Alaisdair Leith
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Review – Missing Link

Animation juggernauts like Pixar and Dreamworks duke it out for the best CGI animation, hell even Sony and Warner Bros are trying to get a piece of the pie, Laika studios are delivering some incredible stop motion features with previous work including Coraline, Paranorman Kubo And The Two Strings and The Box Trolls. This time around they are embarking on a worldwide adventure with different locations and an all star voice cast with beautiful eye popping animation to deliver a solid film that is arriving at the perfect time for school holidays.

The story revolves around Sir Lionel Frost (Hugh Jackman) an adventurer in Victorian London who is trying to earn his way into an exclusive mens hunters club headed by Lord Piggott-Duncby (Stephen Fry). When Frost receives a letter advising that the Sasquatch creature has been spotted in Washington, he sets off to finally prove that it exists and earn his way into the club. Upon arriving he meets the sasquatch Link (Zach Galifiankis) who just wants to head to the himalayas to reunite with his Yeti cousins and find his family.

Along the way the are joined by Frost’s acquaintence Adelina Fortnight (Zoe Saldana) who go on a trans atlantic journey through the UK and India to reach the Himalayas and return Link to his family. Sounds easy right? Well to top it off they are also being chased by Stenk (Timothy Olyphant) who wants to claim and kill Link and Sir Lionel Frost.

The story is quite layered and has a lot of moving parts that explores privilege, race, friendship, revenge and family. It sounds like a lot of heavy themes for a kids movie, yet it is told with such heart and having a character who is very wide eyed and innocent like Link helps the heavy parts land softly while still being effective.

Visually the film is flawless. The colour palette used in all the different locations and characters are nothing short of spectacular. The level of detail in a scene in the Indian jungle is jaw dropping. There is also a little behind the scenes of this at the end credits that is definitely worth sticking around to see. The characters themselves are great with Link having so much detail who self-describes his colour as more Autumn than brown. The variety of locations from dark and detailed castles to the icy valleys of the Himalayas, this is definitely Laika’s most ambitious work to date.

The voice talent in this film matches the great detail put into the animation. With Jackman and Galifaikas providing solid lead performances. This is only enhanced with Saldana joins the crew and the trio provide some of the best voice work in an animated film to date. Emma Thompson has a great role as the leader of the Yeti tribe and is allowed to flex some of her comedic muscles. Matt Lucas, Stephen Fry and Timothy Olyphant allow the film to truly be hilarious with their wacky characters.

There is so much to love and adore about this movie and the proven track record of solid films that Laika are producing. This is director’s Chris Butler’s second time directing (after Paranorman) and has truly raised the bar is both visuals and storytelling. This may be the film you haven’t heard of, but it is definitely the film to take the whole family to these holidays.

Missing Link is in cinemas April 8.

Review – Kingdom Hearts 3

Alaisdair Leith
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Review – Kingdom Hearts 3

Reviewing a game like Kingdom Hearts 3 is no easy feat. This monolothic game could be tackled from so many angles, as I am not a Kingdom Hearts fanboy, despite playing the previous titles, I thought it was best to tackle this game like I do any other normal game review with a fresh pair of eyes and my skepticism about Disney becoming a dictator in the entertainment industry aside to rejoin Sora and the gang for a sequel that has been 14 years in the making. While it did start off slow (extremely slow!) with three painful intro cinematics, each finishing with the Kingdom Hearts 3 title (just in case you know I fucking forgot what I was playing) it wasn’t until I moved to the third world that the game really kicked into gear and showed why the lengthy wait was worth it. It’s not all good news though, the writing is awful, like god awful, with slow and static awkward pauses in between characters in cinematic scenes and WAY too many of them at that, it was only the unique mix of characters, worlds and theme park rides from varying Disney properties that save this game from being a complete disappointment. Ever wondered what would happen if Uncle Scrooge opened a bistro in Traverse Town with Remy from Ratatouille? No? Me either…While these kind of crazy combos are interesting to watch play out during the game, the worlds are so empty and void of population they feel lifeless. Kingdom Hearts 3 is extremely ambitious but regrettably is a bit of a waster opportunity. 

Players take control of Sora, who again must team up with Donald and Goofy to travel through the universe via a Gummi ship to save the world from the Darkness and Master Xehahort who wants to unlock the one keyblade to rule them all and let the Darkness infest every world. It’s nothing new or revolutionary but this is a game where Disney characters team up with Final Fantasy characters so we can’t exactly expect depth here. Together you travel to different worlds inspired by recent Disney hits like Tangled, Frozen and Toy Story while diving into the Marvel universe with Big Hero 6. Sora and friends do run into a lot of characters from these films, disappointingly the gaps between back and forth dialogue is irritatingly slow and completely detracts from any emotional (and nostalgic) impact it tries to have. This also goes hand in hand with the script for the story, it is extremely painful and nauseating to endure, if the graphics weren’t so good, it would be a complete wash. The person who thought it was a good idea to give extended dialogue to Donald Duck really needs to be fired, the painful process of trying to figure out what he is saying is just irritating. It feels like the studio has forgotten that the majority of people playing this game have grown up with the series and are now adults wanting to propel the series forward, alternatively it will work if the audience who grew up with it now have kids and can share the experience with them. 

As mentioned previously, graphically this game is incredible, particularly as you explore the various Disney properties, in particular Toy Story was a stand out looking identical if not better than the movies do. Each world has been maticulously created and while there are some items and treasures to find, the lack of native population or NPC’s is quite disappointing. This led to the worlds feeling empty and bleak which was strange considering how much effort and love has clearly gone into their creation. The Pirates Of The Caribbean world was surprisingly good, enabling Sora to command a ship and explore. While this is no Black Flag, it does come at a welcome time for some variety in the otherwise monotonous gameplay. There are quite a few iconic Disney scenes played out during the game which tug on the old nostalgic heart beats but don’t offer anything of value to the story. Seeing Elsa build her castle in the Frozen stage to the orchestral version of Let It Go will have your little ones flocking to the screen, but the lack of meaning to the story is a little wasted. Sora is detailed to perfection, as are his keyblades and special moves, it is a pity the same cannot be said about the camera. Often when I was mid-battle and a giant robot pushes me into a corner, the camera refuses to move to allow me to see who is pummeling me from behind. It does happen several times through the game so it did become a regular annoyance. 

The combat system for this game is varied and pulls from many different games in the series that keep the actual gameplay fresh and addictive. You have the opportunity to purchase several different keyblades, each of which have their own unique powers and abilities. You can also equip multiple ones which allow you to quickly change between them in battle to effectively destroy enemies as quick and as painless as possible. There are the usual team up moves that involve active members of your party for effective battle slams and a new mode that brings in a Disney theme park ride. Now this could be a little controversial for Australian’s with the water ride resembling the now defunct one from Dreamworld being a weapon. You can also summon the pirate ship and the tea cups from the Mad Hatter. It seemed like a strange and cash in thing to do, but it turned out to be a lot of fun and doesn’t overstay its welcome. Each world and character has different team up moves which keeps a great variety during the game. Teaming up with Buzz and Woody to strap onto a rocket and dive into enemies is definitely the stand out. 

The game’s story clocks in at around 40 hours and while this may not be as big as other open world games, the quality of the graphics and combat system are enough to offset the time alloted. This is the kind of game you play through once and probably won’t feel the need to go back to (unless you are a trophy hunter or collectible fiend) While it is definitely only a one time wonder, it is definitely worth the trip. The scope of what is on offer and the ambition of this crazy combination of franchises that if you totally lean into works on a few levels. While this game has had quite a few years to perfect and craft its story, I was disappointed that the story was the weakest part and with SO many cut scenes, it really should have been given more care. 

Kingdom Hearts 3 is a step forward graphically and for its combat system, however the story does set the series back a few pegs. Hopefully Square Enix can spend some more time on the story for the next instalment and hopefully we won’t have to wait so long for the next one. 

Kindgom Hearts 3 is available on PS4 and Xbox One.

Review by Alaisdair “Leithal” Leith

Competition – Cold Pursuit

Alaisdair Leith
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Competition – Cold Pursuit

Want to win a double pass to see Cold Pursuit? Head on over to our socials now to enter! Via Facebook, Twitter and Instagram @novastreamau

Watch the trailer here

Women in Gaming

Alana Young
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There’s a lot of heat around the way women are represented in games as well as our place in the gaming industry. On the whole, people are glad to see a growing number of women playing and making games, but there are still some struggling with acceptance. And while some games do an admirable job of creating strong female characters, a lot of the major titles are still lagging behind. But even disregarding the gender equality issues explored in the media lately, there’s no doubt that women in gaming face certain challenges. As a woman who’s played games her entire life, and is working towards a career in the industry, my life has been shaped by issues of identity within the community.

The biggest issue I’ve faced as a woman who plays games isn’t sexism or abuse – I’ve been harassed by a guy online once and a lot more people came to my defence than screamed at me to add them. The hardest part of being a gamer has been expressing my passion for the medium to some of the most important people in my life. My mum didn’t love that I played so many games as a kid, and I think she was a bit shocked when I told her I was going to be studying them at uni. None of my closest friends are gamers, and for the most part I’ve stopped talking to them about games. Not because it makes me feel excluded but because I know they have no idea what I’m talking about! So for a long time I didn’t have an outlet for discussing video games, and I always desperately wanted one.

The life-long desire to share my love of gaming is a big part of what made me want to become a video games journalist. These days, some of my happiest moments come from the times I send Novastream reviews to my mum. Since I’ve started writing for the site, every article has given me a chance to share a part of myself with all the non-gamers that I love.

Anya is every bit BJ’s equal in Wolfenstein: The New Order
Anya is every bit BJ’s equal in Wolfenstein: The New Order

I’ve also struggled with the sense that I need to justify my interest in gaming, as a career choice but especially a hobby, because I’m a woman. Writing my dissertation on video games gave me a chance to show that all the time and effort I’d put into games was worthwhile. Months of tireless work and a lifetime of investment paid off when I could point to respected academics like Janet Murray, Miguel Sicart, and Tom Bissell and explain how I was expanding on their work. My Honours supervisor is an amazing and inspiring woman, but she had no idea about games or what made them special. When she was interested in my research and acknowledged video games as a powerful narrative form, I remember feeling a huge sense of pride, relief, and success.

But this is still hard for some people to grasp. The other day I was telling a neighbour about this article and she asked why any nice young lady would like video games? The reason is simple: they give me an experience that nothing can match. I love immersing myself in fantasy worlds, and games offer this escape in a way no other medium can. It’s doesn’t matter that I’m a girl – I just love being told stories and getting the privilege to participate in them!

Sadly, the stereotype that games are a man’s medium is still prevalent in our society. Last year I wrote a uni assignment on the rhetoric at work in the Gamergate controversy. When I started research I thought the issue was silly but working towards a real solution, but by the end of the essay I was convinced it had devolved into a screaming match between two sides who wouldn’t take no for an answer, no matter the consequence for the industry. The whole thing seems ridiculous and harmful, and I want nothing more to do with it. That being said, of course I believe that games should work to portray more realistic and positive female characters. And, happily, some games do an outstanding job of this! Anya and Caroline in Wolfenstein: The New Order are just as integral to the resistance as BJ, and Frau Engel is a terrifying villain without compromise; Lara Croft burst back into our lives as an unstoppable whirlwind of ability and strength of will in the rebooted Tomb Raider; a female Commander Shepard in Mass Effect is the saviour of the galaxy and lacks nothing that a male Shepard possesses. In fact, BioWare games in general are brilliant examples of gender equality. Mass Effect 2 shows off Miranda’s sex appeal every chance it gets, but she isn’t defined by it: she’s incredibly smart, a formidable player in galactic intrigue, and a powerful ally for Shepard. Dragon Age: Inquisition features a cast of ambitious and talented women, as Novastream’s own Zahra discussed. Characters like this make me proud to be a girl gamer, because they give me positive female characters to identify with and form connections with.

Miranda
Miranda’s as threatening as she is beautiful

Unfortunately, there are still a lot of problems with the representation of women in games. Women in GTA V are only ever prostitutes and “bitches” put in the game for a male audience’s violent comedic outlet. The Witcher 3 has positive female characters, but the sex cards in the first game are a childishly hyper-sexualised approach to women. Geralt having sex with lots of women makes sense in a narrative context, but there’s no in-game justification for his collection of the middle ages equivalent to naked snapchats. The cards only serve to appeal to players, and young male players at that.

For the first time in the franchise’s AAA release history, Assassin’s Creed: Syndicate will feature a playable female character (Assassin’s Creed III: Liberation gave us Aveline as a playable character, but the fact that this instalment was relegated to a PS Vita release should show how little effort Ubisoft put into this attempt at gender equality). However, a report from Kotaku claims that Evie will only be playable for roughly 20% of the game. I understand the marketing logic behind this choice, with the series having a predominately male audience, but with the demographic of the gaming industry constantly shifting to include more and more women, this won’t be a valid excuse for much longer.

I felt pretty gross getting this screenshot but at least I didn’t shoot the dancer once she was done
I felt pretty gross getting this screenshot but at least I didn’t shoot the dancer once she was done

Personally, I don’t often get offended by gender imbalanced in games, but even so, I’d love to see them continue to change. There are more and more women getting involved in all aspects of the industry, and I’m sure they’d agree when I say that I want more realistic women in games, both to represent us and for us to identify with. This isn’t a case of wholesome versus sexy – I love seeing a kick-ass lady flaunting what she’s got – just don’t make a woman’s appearance her defining characteristic.

The gender imbalances in the gaming community had a big influence on the kinds of friends I made when I was younger. In primary school I was very much a tomboy and I had more guy friends than girls, mostly because I recognised boys as my chance to talk about video games. But I realised in my last years of high school that playing games and doing girly things aren’t mutually exclusive. I still don’t have a lot of female friends who game, but all my ladies are amazingly geeky about something. I met Lauren when she saw my Star Wars pencil case one day at school, and she owns what I’m sure is the world’s largest collection of Marvel shirts and lounge pants; Bridgette knows more about Girls than Lena Dunham herself and may even love Han Solo more than I do; I get roughly one snapchat a week from Jess who can’t wait to show off her new art supplies; Mel has the most intense reactions to TV shows and we spent our afternoons after school binging on Veronica Mars and Fringe. I love seeing them geek out about their thing, and even when we’re not talking about video games it satisfies the part of me that wants to express a passion for something.

Lara Croft has no time for looking glamorous when she’s fighting for her life
Lara Croft has no time for looking glamorous when she’s fighting for her life

That being said, games have also been the cornerstone of some of my strongest relationships. One of my best friendships in high school started when I asked a guy to help me build a computer, and we were inseparable for years. I met some of my closest friends at college when they saw the giant KOTOR poster on my wall, and Mass Effect 3 is what led to my boyfriend and I going on our first date (we made a bet that whoever finished the series last would take the other out for coffee. I won, but I think that was his plan all along). So even though a mutual appreciation for games isn’t as important to me as I once thought it was, they’re still an important part of my life.

Games are an amazing medium that welcome anyone with open arms. There’s still work to be done to achieve equality in games, but that doesn’t mean they can’t still be positive experiences for women. Being a gamer has given me some amazing experiences in life. I’ve made lots of friends playing games, and I’ve become a part of some very friendly and supportive communities. But no woman – no person – who plays games is defined by that interest. Girl gamers aren’t spectacles, we’re just people who want interactive and immersive experiences. When these experiences get gender representation right, they can lead to some powerful responses. So I’m going to keep striving for equality in games for as long as I’m involved in the industry, and I’m excited to see where we end up in the next few years.

 

Article by Alana Young

Twitter: @alana_groffle

Review – Ant Man

Leithal
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antman2Marvel continue their reign of the superhero hits with the latest original film Ant Man. The film has been consistently plagued with problems since it began, the great director Edgar Wright departing the film after “creative differences”, Joss Whedon saying Wright’s script was one of the best things he has ever read, new director Peyton Reed (Bring It On and The Break Up), rewrites by Paul Rudd and then finally a confirmed release date. It is an exhaustive list that has had fans (and myself) concerned about the quality of the movie, but rest assured while this isn’t one of Marvel’s best, it does continue with the standard of superhero movies that populate their shared universe.

Original Ant Man Hank Pym (Michael Douglas) is feeling his age and when his tech is stolen by Darren Cross (Corey Stoll), Pym recruits Scott Lang (Paul Rudd) a thief, to break into Cross’s facility and steal back the suit. Joined by three unfortunately cast racial stereotypes, things don’t go to plan and Lang must don the suit to stop Cross/Yellowjacket. Now I know what you’re thinking a private corporation stealing technology to take over the world..Groundbreaking…and you are right, it definitely is the biggest weakness of the film.

The villain is non threatening, non sensical and ridiculous, the the point where if you took YellowJacket out, this movie would stillantman3 work and probably be a lot more enjoyable (although without the mind blowing action scenes!) There is no exploration of major motivation for YellowJacket and Cross does bring his all to the role, but Jacket comes across as a bit silly and non-threatening.

Rudd is perfect as Lang, one minute you are laughing and the next swept into a massive action sequence with hight stakes and you can feel the tension. This is something that Marvel movies can do really well, and this is probably one of the best examples of it, I put this down to Rudd and his story arc. He has gone to prison, he struggles financially and has a struggling relationship with his daughter, in a self sabotaging cycle, he is easily the most relatable Marvel hero in the universe so far. This is a character that Rudd portrays perfectly and his interaction with Pym’s daughter Hope (Evangeline Lily) is a mirror of Lang and his daughter and is beautifully developed and has such great detail given. Michael Douglas is perfect as Pym and seems to be continuously winking to the audience through his joyous and easygoing role.

antman4Effects wise this film delivers,the early trailers left a lot to be desired and I was concerned about the final product, however Industrial Light & Magic have again proved how they can make just about anything work and look spectacular. The action sequences in this are mesmerising, and a scene involving a water droplet  and Ant Man is glorious to watch on screen (especially in 3D!)

This movie was a hard one, it has taken 10 years of production to get here, and while it is no Guardians Of The Galaxy or Iron Man 3, it does something that the previous films have struggled to, deliver a relateable character who the audience can identify with and keep everything grounded in a crazy situation. While Peyton Reed is direction, Edgar Wright still has writing credits and fans of his work will spot his influence in the movie. This may not be another billion dollar franchise, but it is solid superhero entertainment and I was surprised at the ride this movie took me on.

Ant Man is in cinemas on Thursday

Review – Jurassic World

Leithal
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jp1Can you really believe it has been 22 years since the original Jurassic Park film graced our screens? Well apart from making me feel REALLY old, it also made me realise how much I have missed this universe. Adding Chris Pratt and bringing Steven Spielberg back into the mix made me feel like this could be the right mix to bring the franchise back. After months of teasers of teasers, trailers and clips, the movie is FINALLY here and Joss Wheedon’s fears about the movie being 70’s sexist are laid to rest with a truly kick ass feminist hero who saves the day.

Jurassic World is intended as a direct sequel from the first film, thankfully ignoring the first two! Jurassic World is now a fully functional theme park on Isla Nublar, and are gearing up to introduce their first dinosaur hybrid the Indominous Rex. When the dinosaur escapes from its isolated enclosure, the park must be evacuated with the help of park director Claire (Bryce Dallas Howard) and dino expert Owen (Chris Pratt) while also finding her two nephews Gray and Zach (Ty Sympkins & Nick Robinson), who are trapped inside the park.

It was difficult to assess this movie from an unbiased point of view, I have been a constant lover and ambassador of this jp2franchise from the start and even forgave the horror of Jurassic Park 3, in hopes the franchise would flourish into something new and reminiscent of the first film, and director Colin Trevorrow delivers exactly that in this direct sequel to the first film (his words!)

The real issue is with the large amount of footage that has been shown before the film, they tend to show most of the action parts of the film, giving the impression that this is non stop from the start of the film, so if you are heading into this with that expectation, you may leave disappointed. As in the first film, the film actually holds its main two lead actors through Gray and Zach, and we get to see the park and all its attractions through their eyes. This technique reeks of Spielberg and the score soaring over the top of this over-blown and absolutely gorgeous cinematography is a visual feast that deserves to be seen on the big screen.

jp3Being introduced to the Indominous Rex so early in the movie, I was concerned that we wouldn’t get to see the “good dinosaurs” and how they would operate in a theme park environment. The petting zoo is one of my favourite scenes of this movie and is handled so beautifully both pre and post catastrophe, it is one of the many highlights of the film. Fans of the original film will swoon with the many references, set pieces, objects and verbal nods that are splashed unapologetically throughout Jurassic World. It is given the respect and adoration that it deserves and uses this a piece to fuel the story forward and try and show the past from the present and how much things haven’t really changed.

Secretly I was hoping for a sneaky Sam Neil or Jeff Goldblum surprise cameo, but alas none were found, fortunately the new characters bring a sense of new world to the film and with Zach & Gray standing out as the two male leads, it really is all about Claire and her attempt to control the uncontrollable and the lengths she will go to, to save lives once all hell breaks loose. There is a fantastic scene with Claire running in heels to save the day and kicking girl power butt in a feminine and strong way that is so refreshing from the masculine women heroes that litter blockbusters lately. While Owen, everyone assumes is the hero of the piece, is kind of the back character here, he serves as an information point for the dinos. and basically looks after the kids while Claire kicks ass, the complete opposite of what the trailer would have you believe.

Visually nothing has changed, this film is as stunning and detailed as the first, the environments are lush and inviting jp4and the cinematography makes you feel like you are inside the park experiencing the events. One thing they managed to get right was the balance between humour and absolute terror, I found myself clinging to the bottom of my chair in a few spots and the feeling of suspense and tension that the first film prides itself on is also used effectively here.

Overall Jurassic World is the hyped up monster that it advertises, it uses a fairly typical plot combined with outstanding visuals, spellbinding cinematography and actors who know the genre and bring their A-game to deliver this summer’s hottest blockbuster. Fortunately there is a lot of substance here and if anything can bring the Jurassic franchise back from extinction, this film is the perfect trigger to bring a new generation into the world of dinosaurs.

**If you are planning on taking little children/kids to see this film, I would advise to maybe do a screening first or talk to some other parents who have seen it, the action scenes are quite intense and could be disturbing as there is a lot of graphic blood splatters and the scenes can be quite intense.

What did you think of Jurassic World? Let us know in the user review and comments below

Review : The Witcher 3: Wild Hunt

Alana Young
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Before you read any more of this review, I’d like you to take a moment to appreciate how incredibly strong-willed I am to have stopped playing The Witcher 3: Wild Hunt for long enough to write it. I’m proud of me.

The reason I’m so impressed with myself is because this is my dream game! I’ve been waiting for it since the minute it was announced, and waiting for the announcement for even longer. I followed its development like a hound, and I had ridiculously high expectations.

And it exceeds my expectations!

The Witcher 3 is a tour de force that’s set new standards for the RPG genre. This game gets so many things right: it’s gameplay mechanics are smooth and intuitive (after some tweaking of the default key bindings), its narrative is gripping, its combat is challenging yet rewarding, and it puts you into the role of Geralt, the master witcher, in a way that makes it easy to totally lose yourself in the fantasy. The characters are wonderfully constructed, especially the women, and the relationships that Geralt can form with them are emotionally powerful and moving. I’m definitely in love with Geralt and Yennefer. The music is beautiful and haunting, and communicates the state of the world and its events with ease. All of this works together in The Witcher 3 to welcome you with open arms to become a part of the world.

The Witcher 3 puts you in the shoes of Geralt of Rivia, the White Wolf, a professional monster slayer for hire. War has broken out in the Northern Realms, but all Geralt wants to do is find his daughter-figure Ciri. She’s been gone a long time, living in another dimension, but now she’s back, and being chased by the Wild Hunt – a cavalcade of ghostly riders who bring death in their wake. Geralt is also on the trail of his long lost love Yennefer, who’s the closest thing Ciri has to a mother. Together, Geralt and Yennefer travel across the Northern Realms searching for Ciri. It’s a grand adventure across vast continents and against the clock.

witcher3_en_screenshot_screenshot_34_1920x1080_1433341640As a long-time fan of the franchise looking for one more adventure with her favourite characters, the story is what’s most important to me in Wild Hunt. Finally, here is a game that strikes a perfect balance between story and side-quests. When I spend an entire play session on side quests I never feel like I’m neglecting the story. Part of this is because Geralt isn’t trying to save the world. He’s not the most important or powerful person in the Northern Realms, he’s just a professional trying to save his daughter, and along the way he comes across people who need his help.

The other reason there’s very little disconnect between the two is that side quests are treated with as much respect as the story missions. The cut scenes are as detailed as main story ones, and conversations with lesser NPCs are still as beautifully animated as ones with main characters. Side quests feel important in this game because they’re shown to have a meaningful effect on the world and the narrative. Above all, every side quest contributes to building the game world: your choices, even the ones that seem inconsequential, can have a huge impact on the world, so choose carefully and be prepared for the fallout. Save a man from being killed by drowners and you may come to regret it when you find he used his freedom to slaughter refugees.

In addition to meaningful side quests, Wild Hunt gives witcher contracts a new sense of importance. Instead of sending you to kill ten wolves or collect five vampire fangs, The Witcher 3 pits you against particularly fierce monsters that have a backstory and a reason for existing. You won’t get sent to clear a harpy nest, but you will be asked to save a village from a noonwraith who happens to be the spirit of a girl who was murdered there. Witcher contracts are separate from regular side-quests and require you to conduct an investigation that may include asking witnesses, examining the surrounding areas, and hunting down a beast’s lair. The investigation is just as important as the eventual encounter with the beast, which makes you feel smarter while also driving home how intelligent Geralt is: he knows all there is to know about monsters and how to kill them, and now so do you!

Working through the new and improved witcher contracts also constructs a more complete understanding of the game world. By taking on these jobs you’re shaping the world: the villagers’ survival is implied to hinge on Geralt slaying the monsters, and by removing the threat to their settlement you’re making sure the world carries on.

witcher3_en_screenshot_screenshot_28_1920x1080_1433341635Most, though not all, of these contracts result in combat. So thankfully the combat in The Witcher 3 is wonderful, having been massively improved since its predecessor. I rolled my way through The Witcher 2 and looked ridiculous (but had fun – “wheee!”), so the new dodge ability is a welcome introduction. And those of you with sign-based builds will adore the alternate form of each of Geralt’s magical abilities. Overall, the combat is challenging and will punish you if you’re impatient, but it’s easy to master and once you do, you can weave your way through fights without getting touched and look magnificent doing so. While you can get away with hacking and slashing your way through this game, it isn’t the most efficient technique, and you won’t have as much fun. The combat demands that you pay attention and learn how to fight properly, but it rewards you with a sense of mastery and power.

The Witcher games are based off a series of novels and short stories, and where the first two games created independent narratives, Wild Hunt brings in iconic characters and plot lines from the books and knits them into the world of the previous games. The Witcher 3 acts as a continuation of the books, but one that benefits from the new narrative and world established in the previous games. CD Projekt Red has done an amazing job adapting characters like Ciri and Yennefer and Dijkstra into the new medium. They all look and sound amazing, and there’s none of the unpleasantness that comes from an unfaithful adaptation. It’s the most loving adaptation I’ve ever seen, and also one of the most intelligent.

But the developers went above and beyond by giving Ciri her own playable sections. Being able to play as Ciri is not only a fun gameplay change, it’s an effective storytelling method. As you progress though the story you’ll meet certain individuals who met with Geralt’s adopted daughter. Instead of simply listening to them tell their story, you take control over the events being retold. Hearing about her journey is one thing, but being in control of it empowers players and expands the world of the game beyond Geralt.

witcher3_en_screenshot_screenshot_21_1920x1080_1433341630Ciri is faster and weaker than Geralt, and her dodge is replaced by a blink ability. She can’t use signs but she can blink from one enemy to another on the battlefield in a devastatingly beautiful display. Her sections are very linear, and without a skills tree or inventory they’d get boring as a whole game, but used sparingly as they are they’re a wonderful addition to the game.

The Witcher games have always been set in large maps, but with Wild Hunt’s move to an open world came a map approximately 32 times larger than all the locations of the second game combined. With such a massive space to fill, it would have been easy for CD Projekt Red to populate it with bland copy-pasted landmarks and repetitive events. Instead, the world of The Witcher 3 is one of the most vibrant and exciting I’ve ever experienced!

There’s something amazing wherever you look, which is doing terrible things to my sleeping pattern. It’s scarily easy to tell yourself “I’ll just check out that tower over there and then I’ll go to bed,” and suddenly realise it’s somehow 3am.

And there’s so much to explore! Say goodbye to Dragon Age: Inquisition’s mosaic pieces and shard collector quests, to the bottles and planting flags, to the logging stands and quarries. I love Dragon Age: Inquisition and collected most of these, but they always felt separated from the world, as if they’d been dropped onto the map on the last day of development. In Wild Hunt, every landmark is built into the terrain logically, and every point of interest offers some task for you to achieve. Whether it’s clearing a monster nest, exploring a cave, rescuing prisoners from bandits, tracking down a great treasure and slaying its guardian, everything feels significant for the world.

On top of the way it’s constructed, the world is gorgeous! Don’t worry if your PC hardware is beginning to fall behind the times – The Witcher 3 is beautifully optimised and chances are you’ll still be able to make it shine. Part of this is thanks to the fact that the developers are still improving it. So far they’ve released four patches that have given lower-end GPUs a performance boost, fixed bugs, and implemented changes that the community has called for. With a game that offers so much content and boasts so many hours of gameplay, it’s relieving to see the developers dedicated to supporting its longevity.

witcher3_en_screenshot_screenshot_15_1920x1080_1433341626Certain gameplay changes have also been made to accommodate for the open world. This time around you’ll only need to brew potions once. After that, you’ll have a stockpile in your inventory which can be replenished by meditating for at least an hour with a strong alcohol in your inventory. This means no scrounging around for that one last petal, which was annoying enough in the first two games and would be beyond tedious in Wild Hunt. Potion effects have been reworked too. In The Witcher 2 the Swallow potion gives Geralt a 10 minute vitality regeneration buff, which was long enough to last for the entirety of pretty much any encounter in the game. In The Witcher 3, Swallow only lasts 20 seconds. To balance this out, potions in Wild Hunt aren’t as toxic to Geralt, and he can consume them during combat. Taking potions in preparation for battle worked well in the previous games, when the location of monsters was more structured, but this methodical approach isn’t practical in an open world with beasts hidden behind every corner.

Also facing roster changes is Wild Hunt’s selection of mini-games. Gone is the love-it-or-hate-it dice poker from the previous games. Welcome instead Gwent, a Hearthstone-esque, Magic the Gathering-esque card game that I can sink whole nights into if I’m not careful. Gwent is a 1v1 game that simulates two armies meeting on the battlefield. You can play against almost any merchant and certain main story-characters, and defeating opponents earns you a tidy bag of coins and a card to add to your collection. Building your deck by winning cards gives the mini-game a real sense of progression, and when you’ve progressed far enough you can take part in Gwent tournaments. I hope that one day we get a multiplayer Gwent tournament, because the developers have put so much work into this mini-game that it’s almost like they’ve made two whole games and sneakily bundled them together.

There’s not a lot to fault in The Witcher 3. Most of my issues with it are actually backhanded compliments. The lack of a photo mode is disappointing – because the game is so beautiful that I spend 30% of my time in it taking screenshots and just gazing at it in wonder. An updated inventory with more tabs and filters would be nice – because there’s so much amazing gear to find that it can take a while to sort through. I wish there were markers above the NPCs you’ve already defeated in Gwent – because I’m so addicted to building my deck.

witcher3_en_screenshot_screenshot_37_1920x1080_1433341642Aside from that, I have no criticisms. This is a game made by people who love what they do and want to give people the best game imaginable. I’m so glad CD Projekt Red took their time and delayed the game. The wait was hard, but it was worth it to be delivered this masterpiece of an RPG that just keeps getting better.

The Witcher 3 is a powerful roleplaying experience that serves up a complex and emotionally persuasive narrative. It treats its characters with respect and its players with even more respect. The world of Wild Hunt is a grim place to live, and your actions can be its salvation or its ruin. It’s impossible to be involved in these kinds of ambiguous and far-reaching decisions and not feel a connection to the world and its characters, and this is where the game shines. Above all, The Witcher 3 makes me believe that I am Geralt, I am a part of these character’s lives, and I am a part of this world.

Review by Alana Young

Twitter: @alana_groffle

What did you think of The Witcher 3? Let us know in the comments below

SXSW Sydney returns for 2024

Alaisdair Leith
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SXSW Sydney returns for 2024

South by Southwest Sydney is back for 2024 with music, games, screen festivals and tech for its second festival.

A centrepiece for global thought leaders, emerging talent, and Hollywood luminaries, last year’s inaugural event saw a long list of heavy hitters descend on Sydney, the global centre point for creativity in Asia Pacific, for a week-long celebration of Tech & Innovation, Gaming, Screen, and Music, with notable standout sessions from Chance the Rapper (celebrating 50 years of Hip Hop), Nicole Kidman, Black Mirror creator Charlie Booker and futurist and AI expert Amy Webb.

The announcements this year feature Rohit Bhargava, Sofia Hernandez, David Warner, Katherine Bennell-Pegg, Ryan Patel, Courtney Act, Nakkiah Lui, Simon McQuoid, Esther Nguyen, and with speakers from Atlassian, IBM, The Iconic, The AI Leadership Institute and Balarinji.

Building on this success, 2024 is set to step things up with an inspiring first round of Featured Speakers just announced for the SXSW Sydney Conference:

  • Australian astronaut at the Australian Space Agency, Katherine Bennell-Pegg
  • World-renowned futurist and authority on global business, politics and corporate governance, Ryan Patel
  • Global Head of Business Marketing at TikTok, Sofia Hernandez
  • Trend curator and founder of Non-Obvious, Rohit Bhargava returning after his popular session in 2023
  • Australia’s eSafety Commissioner,  Julie Inman Grant
  • Award-winning Australian filmmaker and director of Mortal Kombat and Mortal Kombat 2, Simon McQuoid
  • Gomeroi and Torres Strait Islander writer, actor, director and publisher, Nakkiah Lui
  • Boy, Girl, Artist, Advocate, global queer icon, Australian entertainer and television personality, Courtney Act
  • Founder of POPS Worldwide, revolutionising Vietnam’s digital music landscape, Esther Nguyen
  • Vice President of Product – AI Platform at IBM, Armand Ruiz
  • Australian human rights lawyer and barrister, Jennifer Robinson
  • Tennis Australia CEO and Director of the Australian Open, Craig Tiley
  • Vice-Chancellor and President of the Australian National University, Professor Genevieve Bell AO
  • CEO and Founder of multi-million dollar production studio Spawnpoint Media, Jordan Barclay (AKA EYstreem)
  • Group CEO of leading Singapore-based creative agency, The Secret Little Agency, Eunice Tan
  • Vice-Chancellor and President of the University of Sydney, Professor Mark Scott AO
  • Co-Founder of Metaphysic.ai and Codec.ai, Martin D. Adams
  • Founder and Chief AI Officer at the AI Leadership Institute, Noelle Russell
  • Filmmaker, 2019 Australian of the Year, and Lieutenant Governor of South Australia, Dr Richard Harris SC OAM
  • Founder and CEO of Silicon Quantum Computing, Professor Michelle Simmons
  • Host of the hit podcast, The Psychology of your 20s, Jemma Sbeg
  • Ass. Dean Indigenous, Faculty of Information Technology, Monash University, Professor Christopher Lawrence
  • Co-Founder, Andromeda Robotics, Grace Brown
  • Resident architect-councilor, HY William Chan
  • Mathematician, comedian, raconteur, and conversationalist, Adam Spencer

The first round of games have been selected for the SXSW Sydney Games Festival Showcase which will take over Sydney from 17–20 October. The first wave of game announced today include Blood Reaver (Hell Byte Games, Australia), Curiosmos (Céline and the Darlings, Belgium), Demon Spore (DinoBoss, UK), DICEOMANCER (Ultra Piggy Studio, China), FRUITBUS (Krillbite Studio, Norway), Hyper Light Breaker (Heart Machine, USA), Mystiques (Lemonade Games, Australia), No Case Should Remain Unsolved (Somi, South Korea), Rose and Locket (Whistling Wizard, New Zealand), and Window Garden (CLOVER-FI Games, Philippines).

SXSW Sydney Chair and TEG Group CEO Geoff Jones said : “After the success of the inaugural SXSW Sydney in 2023,  we are once again inspired by the overwhelming response from the creator communities to participate in the 2024 program.  This is the first of many announcements as we roll out the extensive and diverse range of visionaries & creative thinkers from around the globe that make up the SXSW Sydney 2024 conference lineup”

“SXSW Sydney is about discovery and an opportunity to be surrounded by the best and brightest minds from Tech & Innovation, Games, Music, Screen and Culture. This year’s SXSW promises to be as inspiring as ever.”

Last year’s event was a massive festival that had our team running all over Sydney. With over 1000 events and networking sessions, it was a perfect event to learn more about the industry as well as networking with leaders and peers to help further the creative collaborative space.

SXSW Sydney 2024 Badges are now on sale at a special Early Bird rate (prices rise May 16) with new inclusions for Platinum Badge holders. Learn more and buy your badge today at sxswsydney.com.

“Not Now, Not Ever” Julia comes to Melbourne

Alaisdair Leith
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“Not Now, Not Ever” Julia comes to Melbourne

“Not Now, Not Ever” the immortal words from Prime Minister Julia Gillard during her famous 2012 parliamentary misogyny speech have been transformed into a live show that is set to begin at the Southbank Theatre in Melbourne from the 31st of May.

A Sydney Theatre Company and Canberra Theatre Centre production, Julia documents one of the most pivotal moments in Australian political history, sending shockwaves around the world. The live show is a gripping insight into Australia’s first female prime minister, who picked apart the hypocrisy and double standards, and bravely fought the unchecked sexism and misogyny that occurs in contemporary politics.

Juliais helmed by some of Australia’s finest theatre makers, including playwright Joanna Murray-Smith (Berlin, Switzerland) and Helpmann Award-winning director Sarah Goodes (Sunday). This powerful two-hander features Justine Clarke and Jessica Bentley, who walk audiences through some of the most important parts in Gillard’s life, culminating in a verbatim performance of the 15-minute speech that has earned a place to live unconditionally in the Australian collective social consciousness.

Melbourne Theatre Company’s  Artistic Director Anne-Louise Sarks says,“Julia is an exhilarating piece of theatre that will linger in the minds of Melbourne audiences, long after they’ve left. After incredibly well-received seasons at both the Sydney Theatre Company and Canberra Theatre Centre, it is so exciting Julia has arrived in the city that Gillard called home throughout her trail-blazing political term.”

The show runs for 90 minutes with no interval with performances commencing on the 31st of May 2024.

You can purchase tickets now here

*image courtesy of Prudence Upton.

The Taste of Things – A perfect feast for the senses

Alaisdair Leith
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0
The Taste of Things – A perfect feast for the senses

Director Tran Anh Hung turns his eye to food in new drama The Taste of Things. The film starts out with a sumptuous 40 minute preparation for a fantastic feast. The scene has two cooks and their assistants preparing a meal in a large stone kitchen in the country. The camera follows trips to the garden to cultivate fresh produce, fetch water from the well in large wooden pails. As the characters prepare the sauces, marinades and stock before preparing and cooking the many courses that this feast demands. Instead of the usual frenzy we see in camera work of preparing a feast, the camera calmly breezes between each character’s task, with intermittent tastings for the young assistants to recount every ingredient without seeing what has been put in the sauces. It’s such an incredibly put together sequence that is not only a feat in filmmaking, it will also cause you to salivate as you can feel the taste in your mouth of each incredible dish. 

During this forty minute sequence there is rarely a few lines of dialogue between characters. This forces the visuals to tell us everything we need to know about the characters. The head of the house is Dodin (Benoit Magimel) who oversees the preparation and cooking of the meal as well as attending to the guests. His equal in the kitchen is Eugenie (Juliette Binoche) who has an obvious love for cooking and the art of it. Her face lighting up everytime she whips a spoon in to taste her work. They work with two assistants, two young girls Violette (Galatea Bellugi) and Pauline (Bonnie Chagneau-Ravoire) who carry out the bulk of the base work required. Pauline is brand new to the kitchen and is noticed by Dodin as a sort of instant chef who can name ingredients just by the taste. 

The story is adapted from the 1924 novel The Passionate Epicure by Marcel Rouff. Showcasing just how beloved and widely known Bouffant is for his cooking and his partnership with Eugenie and how there working together creates art is translated perfectly onto screen. While the two do create beautiful food together, Bouffant is clearly obsessed with Eugenie, with the audience shown glimpses of him approaching her room at night. We are not treated to the back story of how they came to meet or work together, Binoche and Magimel have such palpable chemistry (perhaps due to their past marriage) Bellugi and Ravoire are remarkable as the two “apprentices” their ability to convey emotion with little dialogue for their age is fascinating to watch. All four actors weave a delicate and well – orchestrated dance like motion while preparing and cooking the food, it really does show that slowing the camera and cooking down can work wonders. 

Hung allows all of these scenes to breathe and feel like they are flowing organically. There is no heightened drama or surprises introduced to hurry the plot along or create tension. Allowing the story and camera to flow around the food, the characters, their love for each other and the art of preparing a meal. As Eugenie and Dodin have their debriefs after long days in the kitchen, discussing if their relationship should progress and what would change if it wasn’t to work. Eugenie is initially hesitant as everything is working as it is, and why should it change, and if they do become official, what if it doesn’t work, what then? These questions are also casually thrown around in hopes of being a reflection of their artistry with little resolve. 

There is much to be said about things not being said. This is where this film shines, in the quiet concentration of the preparation of food. The love, care and passion put into creating dishes that look and taste spectacular. Hung is seemingly able to do this with little to no effort thanks to an incredibly talented cast who work in sync, delivering some truly memorable performances through these seemingly simple characters who are true connoisseurs of their craft. 

The Taste of Things is a true love letter to the art of cooking. Not seen through a busy restaurant kitchen in other films in the foodie genre, instead we are transported to a beautiful stone country kitchen that puts taste and passion above all else. Binoche shines in this film as a true artist and cook, fostering the next generation. Director Tranh Anh Hung encourages us to lap up and savour every flavour in this well woven tale that will delight your sense. 

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Source: JustWatch

Review – Hacks Season 3

Alaisdair Leith
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0
Review – Hacks Season 3

At the end of the second season of Hacks, the writers made a decision that would make it seem like this beloved series had come to a close. Comedian Deborah Vance (Jean Smart) successfully updated her material and blasted her way back into relevance thanks to the writing and life coaching from Ava (Hannah Einbinder). Upon learning that Ava was getting noticed in the industry and could build a career from her experience with Ava, she selflessly fired her, pushing her out to forge a career of her own. It’s been three years since that finale aired, and after some personal circumstances with the cast and two strikes, the third season is finally here. 

The third season has a one-year time jump, with the show centring around Ava at the start, who is now acting as a co-producer and writer on a new show. She is currently shacked up with her actress girlfriend. They look to be living an idyllic life as an artistic couple in the leafy suburbs. Deborah is capitalising on her career’s second renaissance thanks to the success of her stand-up special. She has reached the elite status of receiving Tom Cruise’s famous coconut cake, the ultimate sign that a celebrity is at their peak. While they have grown separately, the two have not stayed in contact and this is where the third series picks up. 

The first episode is slightly jarring as you realise these two are not intimately involved in each other’s lives. Watching the sheer panic on Ava’s face whenever someone mentions Deborah successfully conveys this estrangement. When the two do meet serendipitous manner, and go through the motions of breaking down those emotional walls they have built up as they both tried to move on as individuals is fascinating to watch. Once the two are past their issues and they begin laughing and taunting each other again, the show allows itself to settle back into a late season 1 and season 2 vibe. While this may sound like just a re-hash of their relationship previously, it’s actually an insightful look into these characters and how they are reacting to their careers progressing. Their feelings of dependence on one another that got them through both of their creative slumps, is pulled right back up to the surface as they try to navigate their new era in their careers, while holding onto each other for support. 

Smart is flawless as always. Her complete embodiment of Deborah Vance is stronger than ever this season. Smart is quick on the one-liners and gives us a side of Vance that we haven’t seen before. Einbinder really comes into her own this season as Ava. While her character definitely is on more of a level playing field with Deborah career wise now, she is still that unapologetic and fiercely honest (and sometimes annoying) friend you need in your life. Einbinder propels Ava to new heights and really helps this character feel like an integral part of the show. Elsewhere this year Jimmy (Paul W. Downs) and Kayla (Megan Stalter) have branched out on their own as managers in Los Angeles. Seeing their dynamic outside of the boss / assistant dynamic is a great side story and their stories interweave with Deb and Ava as the season goes on. 

It’s hard to imagine after the phenomenal writing and success of season 2 that the show could ever keep up with that pace. Fortunately season 3 propels the story and its characters forward, while maintaining the laughs. Deb and Ava are in very much a similar place in their careers, and how they try to navigate that while not being dependent on each other is perfectly written. Hacks continues to be the best comedy on television that has no problems making you laugh one minute and cry the next. 

Hacks Season 3 is streaming on Stan Friday May 3rd, same day as the U.S.

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Review – Boy Kills World

Pat Clifford
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Review – Boy Kills World

Your mother and little sister are killed before your eyes during the culling, a day dedicated to removing enemies to the totalitarian state run by one Hilda Van Der Hoy (Famke Janssen); what else is there to do than train to be a one-man weapon and exact your murderous revenge on those that wronged you. 

That is pretty much the entire concept of Boy Kills World. Boy (an insanely ripped Bill Skarsgard) who is saved from death by the mysterious Shaman (Yayan Ruhian). Boy, having been tortured, is deaf, mute and unable to remember what his voice sounded like, so he picked one from his favourite arcade video game. Lucky for us, it just so happens to be the unmistakable H Jon Benjamin who provides Boy’s inner monologue for the entire movie. 

Still a child when his ordeal takes place, Boy is transformed in the dense jungle outside of the city through a series of montages and hallucinogenic moments under the watchful eyes of the Shaman. All while his inner voice narrates everything that is happening. After years of training in hiding a grown boy witnesses a collection for the annual culling go wrong in the streets and his plan or lack thereof, for revenge goes into action. Cue fast-paced action moments, add in bucket loads of blood and gore, sprinkle in some truly evil people, and just enjoy the ride. 

Boy Kills World is a simple bare-bones revenge story that takes a lot of its styling from anime, with a big influence coming from the dystopian movie influx we had some years ago. It is an insane mess of a story that somehow works. Bill Skarsgard is brilliant as he pantomimes his way from one fight scene to the next, ever upping the carnage meter as the movie finds itself and stretches out for the second half. If you’re a fan of offbeat comedy, think Deadpool or (I couldn’t help with the similarities) Archer, there is plenty to laugh about. Benjamin’s deadpan delivery holds scenes together and helps elevate them further than I believe even the talented Skarsgard would have been able to with the material. Boy communicates by reading lips while his inner monologue does the generates the responses. This is especially well done in those moments where his lip reading is anything but perfect adding to the comedic element of this film.

Behind all the nonsensical violent action, Boy Kills World has a little bit of heart. Along for the revenge train is Boy’s little sister Mina (Quinn Copeland), Mina may be a figment of Boys eternal mental strife, but she is the tether he needs to keep himself somewhat focussed on his mission. The way in which the two bounce off each other brought some of the best comedic moments and, with her being central during flashbacks, showed us who Boy was really fighting for. 

The first act of Boy Kills World is definitely its weakest. While you’re busy trying to understand the ins and outs of an overly complex setup that offers no world or character building outside of Boy is taking place. We are not privy to how the Van Der Hoy’s came to power or why this dystopian city is so invested in their rule or the ways in which they keep their power. By the time the second act kicked into gear, I found myself just along for the ride. 

Boy Kills World is a rip-tearing ride that makes little sense, loses the plot a little, and keeps you entertained for its entirety. It does exactly what I needed it to do, and that was just to be a fun time at the movies.  The Van Der Koy family is rightfully evil yet so very human, which is probably their scariest quality. Producer Sam Rami’s influence is felt throughout, and as a fan of his work it really made me appreciate the attention to the dark and comedic tone that much more. 

If you’re looking for an intellectual story with compelling character development and a well-delivered story, this isn’t one for you. For all its shortcomings, Boy Kills World does what more movies need to do: it’s just an enjoyable time out at the cinema with friends. Don’t watch it alone; more joy comes from watching it with others.  

Boy Kills World is coming to Australian cinemas from May 2nd. 

No offers available for this configuration;
Source: JustWatch

Trailer – Mufasa : The Lion King

Alaisdair Leith
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0
Trailer – Mufasa : The Lion King

Mufasa : The Lion King is the latest live action film from Disney. The prequel to the Lion King explores Mufasa’s origins and how he rose to become king.

“Mufasa: The Lion King” enlists Rafiki to relay the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone, until he meets a sympathetic lion named Taka – the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny.

The trailer reveals some cast including returning cast Donald Glover as Simba, Beyonce as Nala, Billy Eichner as Timon and Seth Rogen as Pumbaa. Aaron Pierre will take up the voice of Mufasa and Blue Ivy-Carter will voice Kiara.

Music has always been a big part of the Lion King franchise, and this time around Lin-Manuel Miranda is writing the film’s songs. Said Miranda, “Elton John. Tim Rice. Hans Zimmer. Lebo M. Mark Mancina. Beyoncé, Labrinth, Ilya Salmanzadeh. Beau Black, Ford Riley, the incredible music team on ‘The Lion Guard,’ and so many musical contributors over the years. ‘The Lion King’ has an incredible musical legacy with music from some of the greatest songwriters around, and I’m humbled and proud to be a part of it. It’s been a joy working alongside Barry Jenkins to bring Mufasa’s story to life, and we can’t wait for audiences to experience this film in theaters.”

Mufasa : The Lion King is directed by Barry Jenkins and will release in cinemas December 19.

2024 HSBC German Film Festival is BACK!

Alaisdair Leith
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0
2024 HSBC German Film Festival is BACK!

The HSBC German Film Festival is returning for its 2024 season. This year, it will feature a selection of contemporary German cinema and screen from May 7 to June 5 at Palace Cinemas nationwide.

Highlights of this year’s festival include Camera d’Or winning writer/director Claire Burger’s new film Foreign Language which is appearing straight from the 2024 Berlin Film Festival. Two foreign language students in Leipzig and Strasbourg forge a friendship through letters and language exchange in this impeccable, heartfelt drama, starring Nina Hoss as one of their mothers. Their bittersweet and boundary-testing friendship is strained as they grapple with how to understand themselves and the world that surrounds them.  

The dramedy One for the Road stars Frederick Lau and Nora Tschirner in a film from director Markus Goller. Dark Satellites is an ensemble drama telling three stories of love. Set amongst the everyday lives of its characters, these beautifully poetic vignettes feature an all-star cast including Nastassja Kinski and Albrecht Schuch.

Opening night film – From Hilde, With Love

Historical drama LUBO follows the life of a street performer played by Franz Rogowski. The opening night spectacular will be From Hilde, With Love and will see the award-winning director Andreas Dresen attending the Festival as a special guest. The film From Hilde, With Love showcases an extraordinary performance from Liv Lisa Fries as a young woman drawn into an anti-Nazi resistance movement during World War II. Dresen will attend the opening nights in Sydney, Melbourne and Brisbane, as well as attending a Q&A session and will also introduce the film.

Closing out the festival is Treasure, a touching drama starring Lena Dunham and Stephen Fry as a music journalist and her father who set out on a tour of their family homeland.

This year, German Films are celebrating 70 years of German Cinema abroad. Simone Baumann, Managing Director of German Films said “We are very happy to continue our successful cooperation with Palace for the HSBC German Film Festival 2024. This year is a special one for us, as German Films is celebrating its 70th anniversary and we hope that the Australian viewers will appreciate the retrospective on 70 years of German Cinema”.

The Goethe-Institut is presenting the ever-popular sidebar “Kino for Kids” which is curated for children, teens and families. In addition to the previously announced MISSION: SCHOOL OF FUN (Die unlangweiligste Schule der Welt – Auf Klassenfahrt) and THE FLYING CLASSROOM (Das fliegende Klassenzimmer), are two further titles, the cross generational reimaging of the classic Lassie in LASSIE – A NEW ADVENTURE (Lassie – ein neues Abenteuer),in which famous Collie dog Lassie investigates the mysterious disappearances of several pedigree dogs; and SKATER GIRLS – GET UP (Get Up) about a group of teenage girls who face unexpected challenges when they enter a skating competition in the summer after graduating high school.

For more information and tickets head to the website here

Keep an eye on Novastream for all the latest reviews and news for the 2024 HSBC German Film Festival.

Dreamhack Australia 2024 is here!

Alaisdair Leith
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0
Dreamhack Australia 2024 is here!

It’s a beautiful, sunny yet cool Saturday morning, and Dreamhack Australia has begun its highly anticipated event for the third year. The three-day event brings in gamers, creators, e-sports, tech, and cosplay to the Rod Laver Arena in Melbourne.

Last year’s event showcased some incredible e-sports events, this year the ESL Challenger returns from 12pm on Saturday, you can check out the full schedule here. Sunday will also play host to the LCO League of Legends Live on stage. You can get all the information, participating teams and tickets here.

There are plenty of other things to do with the main stage, offering panels with talks and discussions from industry insiders and creators handing out their tips and tricks. Artist Alley is the home of your favourite artists selling their latest creations, offering something for everyone. The Expo is where all the action happens with companies like Intel, MSI Australia, Kick and home of the infamous DreamHack Wheel. Make sure to download the DreamHack app to scan at QR points around the expo to win prizes on the wheel!

Hololive is finally coming to Australia. The international VTuber group will perform their 3D concert on Saturday night. You can also grab a Live Streaming ticket and enjoy the concert from the comfort of your couch.

Pokemon Go is being hosted here as well with DreamHack Poke Stops, Lure Models will be attracting the Unknown and a chance to encounter a Pikachu wearing a party hat. Make sure you stop by the booth and say hi, there will be giveaways and photo opportunities you don’t want to miss!

DreamHack Australia is Melbourne’s hottest new gaming and esports festival, make sure you grab your tickets here & say hi to the Novastream Team if you see them around the expo.

Review – The Fall Guy

Alaisdair Leith
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0
Review – The Fall Guy

Stunt man-turned-director David Leitch (Bullet Train, John Wick) pays the ultimate homage to his roots in this well woven story that not only serves as a toast to stunt people everywhere, but also as a throwback to blockbusters that didn’t require homework. It feels like forever ago (well the early to mid 2000’s anyway) since we had a fun blockbuster that wasn’t a part of a franchise or serving as a sequel, prequel or the dreaded requel. The Fall Guy offers a fun and entertaining blockbuster that oozes charm from its two main co-stars, is backed up by some stellar supporting characters, tons of comedy and some big-time explosive action sequences that are performed by stunt actors. It has all the ingredients for the perfect action comedy, a genre that has been recently relegated to streaming services. Fortunately there is so much to love about this movie, it does warrant viewing on the big screen with a reactive crowd. 

The film offers hilarious commentary on the state of the movie business at the moment and the amount of incredibly hard work that stunt doubles put into movies, and just how much of it goes unnoticed. This film’s main man is Colt Seavers (Ryan Gosling) who is the stunt double to one of the biggest action stars in the business, Alex Ryder (Aaron Taylor Johnson) who is a Tom Cruise, Dwayne Johnson type, who never does any of his own stunts and is kind of a huge jerk. Colt is having a secret (or not so much) affair with the director Jody (Emily Blunt), after an accident on set leaves Colt with a shattered back and no confidence, he goes into hiding until he is pulled back into the industry by Alex’s producer Gail (Hannah Waddingham) on a trip to Australia to help with Jody’s first blockbuster movie. 

The blockbuster movie that Jody is making is called Metalstorm, a sci-fi epic romance that has similar beats and score to the recent Dune films, is having third act problems and only Colt’s epic stunts can save it. This is made more complicated as Alex has disappeared from the set and is reportedly in a drug induced isolation in his loft in Sydney Harbour. Gail tasks Colt with the job of checking in on him and getting him back to set otherwise the film risks being shut down. When things spiral out of control, Colt is taken on a journey across the city to find Alex and save Jody’s film. 

Gosling is perfect as Colt, able to bring the movie star swagger he oozed in previous films like Drive and The Nice Guys. This film showcases the people who work behind the scenes and Gosling does a fantastic job at highlighting this. The constant pointing out of the lack of Academy recognition at the Oscars and that all of the fame and glory goes to the main actors, while the stunt team go relatively unnoticed. While this film doesn’t really do anything to fix that by offering an insight into their stunt performers during the film, it does allow them to really showcase the wide breadth of what they can do with pyro, a record-breaking cannon roll, many vehicle jumps and a nail-biting spinning dumpster being dragged through the streets of Sydney. Blunt is perfectly cast as the budding director, working through some smaller projects before finally getting the chance to make the movie of her dreams that can make or break her career. She is in charge, headstrong and knows the right way to treat those around her to get the best work out of them. Her chemistry with Gosling is off the charts, when they are together they are electric and this really is a great showcase for Blunt’s talent as an actress. 

Supporting cast wise there are some familiar faces here, Stephanie Hsu is an on set assistant and her brief role in this as handler for one of the trained stunt dogs delivers a lot of laughs and even gets an action scene in herself. Winston Duke plays the head of the Stunt department, and is perfect alongside Gosling for the comedy/action star character, further proving this man needs his own blockbuster with him as the leading man. I would be remiss if I didn’t mention the stunt dog, who only responds to commands in French, is a beautiful addition to the cast and provides a lot of laughs and action when required. 

There is also a strong sense of nostalgia and familiarity here. If you have ever been to or live in Sydney, you will relish like I did trying to figure out where they are, what building they are in or bar, which for locals adds that little bit extra, seeing a big budget Hollywood movie like this made on our shores. Whether it’s a skip bin skidding through Martin Place or an out-of-control truck on the Sydney Harbour Bridge, it all comes down to the epic Harbour water shots with boats and gas tanks that really showcase how incredible Australia is as a setting for action films.

The Fall Guy is a love letter to traditional filmmaking, to using practical stunt actors and big action set pieces over the recent CGI schlock-fest that has invaded films over the last few years. This film feels particularly akin to the action comedies that died out of cinematic release in the early 2000’s and Leitch is unapologetic about his love for these films and attempting to bring them back. Blunt and Gosling are bona fide movie stars and their chemistry and performances here are exactly what a film like this needs. Gosling brings his goofy Kenergy to this film when it is required and successfully continues his brand of comedy that really makes the film. While there are some jokes that do linger on a bit too long, this doesn’t stop this film from delivering. The onslaught of action infused with comedy and heart ensures that The Fall Guy has what it takes to revive the action-comedy genre. 

The Fall Guy is in Australian cinemas Wednesday April 24 thanks to Universal Pictures Australia.

Win tickets to The Taste of Things

Alaisdair Leith
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Win tickets to The Taste of Things

One of the most breathtaking French films of recent years, starring Juliette Binoche and Benoît Magimel, THE TASTE OF THINGS follows the story of Eugenie, a peerless cook who forms a special bond with the renowned gourmet Dodin. Despite their exceptional culinary creations and romantic connection, Eugenie values her independence and resists Dodin’s wish for marriage. Their relationship takes a poignant turn when Dodin expresses his love through the intimate act of preparing a meal.

Thanks to Rialto Distribution, we have 10 in-season double-passes to giveaway to Novastream readers!

To enter the competition, simply fill out the form below and head over to our Facebook page for a double entry.

The Taste of Things is in Australian cinemas from May 2 via Rialto Distribution.

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