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.
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.
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.
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.
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.
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 (ChristinaHendricks 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!
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)
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.
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.
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.
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
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’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
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
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.
Marvel 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 still 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.
Effects 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.
Can 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 franchise 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.
Being 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 and 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
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.
As 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.
Most, 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.
Ciri 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.
Certain 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.
Aside 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.
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.
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.
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.
Marvel Studios have released the first full trailer for Deadpool & Wolverine.
Starring Ryan Reynolds and Hugh Jackman, this multi-verse adventure will see Deadpool travel across the multi-verse to find a hero to help save his world.
While we didn’t get to see much of the story in this trailer, we do get a glimpse into the dynamic between the two main characters all to the tune of Like A Prayer by Madonna. This is definitely not a family-friendly trailer (or movie!), and this doesn’t shy away from it.
Deadpool & Wolvering is in Australian cinemas July 25, 2024.
On the 30th anniversary of The Crow, and the 20th anniversary of I, Robot, it’s fitting that filmmaker Alex Proyas is the recipient of the 2024 Chauvel Award for his contribution to filmmaking in both Australian and abroad. Receiving his accolade at the Screen Industry Gala Awards on April 18, Proyas opened up on stage about his career before premiering a series of his most recent short films during the Gold Coast Film Festival.
In attendance at the Gold Coast Film Festival’s opening night, Nick L’Barrow had the opportunity to sit down over a drink with Alex Proyas in an exclusive, extended discussion to discuss the current climate of Australian filmmaking, working with Will Smith on I, Robot, and how he makes movies for one person only.
Nick: Have you ever been to, or filmed anything, at the Gold Coast before?
Alex Proyas: No, but I did come to the see the studios years and years ago. It just didn’t work out.
Nick: It has seemed like over the last few years that Australia, but South East Queensland in particular has been an ever growing hub for filmmaking. We’ve seen a large variety of productions. How have you seen the Australian film industry change and evolve of the last few decades of your career?
Alex Proyas: You can’t put everything into the same overall shell. Like, all the big runaway Hollywood productions – yeah, great, it’s fantastic. And we’ve got the resources now, the studios, the infrastructure, to cater to the projects.
But I think for our homegrown stuff, we’ve got a long way to go. We’re also fighting the very nature of a shifting landscape in filmmaking. We are all independent filmmakers in this country, right? Unlike Hollywood, they have day jobs in the film industry. Here, we do it as a hobby. We get paid, and we’re very happy. And I do think we need to do a lot better here at helping homegrown talent.
I have an interesting experience because I’ve done both very small budget films locally here, and the big Hollywood films. And I know I get enormous support when I’m brining $80 million US into the country, right? No so much when I’m not doing that. I think that’s a real problem.
I think we need to keep working diligently in fixing that problem. Filmmakers need – Australian filmmakers – need all the support we can get. Even more so because it’s such a precarious industry globally, but here we feel the brunt of that much more so than perhaps others.
How do you find navigating the international studio system?
Alex Proyas: It’s horses for courses. Making movies is never easy. It doesn’t matter what level you’re doing it and who you’re doing it with, it’s always a slog. That’s why I say support is the way to do it. That goes for fellow filmmakers. I make an effort to never say anything bad about anyone else’s film, because I think any film being made is a miracle. We should support each other.
That’s something the American’s actually do pretty well, because they’re all trying to make money out of it, right? Here, we don’t do that so well. The Australian psyche is one where we’re always kind of scared of other people, we’re scared of competition. We see people as competition, which we’re not. Rival filmmakers are not competition. We’re fellow artists all trying to do something fun. So, I think supporting each other as much as we possibly can, I think that’s really important.
That’s the Australian psyche. I equate it to, you know, when someone opens an Italian restaurant, and they have a business that appeals to people who want Italian food. And then another person opens up a rival Italian restaurant across the street. The first guy gets really pissed off and thinks it’s competition. What they don’t realise is that they’re not competition, but this is the birth of a Little Italy. It means more people are going to come and get Italian food. It’s good for everyone.
That’s something that Australian’s inherently don’t understand. It’s something that Americans, as a culture, they understand this notion of making sequels, making franchises, doing all that stuff, it’s an extension of the same idea. If more people are doing more of the good thing, that’s great.
I think it’s a psychological problem. And it’s because we – well, I don’t – but you guys probably do, British and Irish heritage. Their mantra is very – Bono had a great story to tell. And I don’t like Bono. I don’t like his politics or whatever, nor do I like his music particularly, but he had a great story to tell.
In America, if you’re not making a lot of money, you look up to the rich man’s house on the hill and go, “One day, I’m going to be so rich, I’m going to own a house like that guy!” In Ireland, you look up at the rich man’s house on the hill and you go, “Well, I’m going to go up there and fucking kill that rich guy and steal his fucking castle!” And to a certain extent, that’s the Australian psychology too.
It’s shifted a little bit over the course of the decade, sure. But we still try and hold people back in our own industry, because they’re perceived as competition, and rivals, which we’re just not.
Nick: Where does something like the Gold Coast Film Festival fall into that infrastructure? Is an event like this something you feel helps build that support and community the industry needs?
Alex Proyas: I think it’s all part of the process of getting people, getting filmmakers, together. Getting film investors and financers, everyone involved in making it a celebration of filmmaking, you know?
Nick: And you’re showcasing your recent short films here, plus, congratulations on being the 2024 Chauvel recipient.
Alex Proyas: Yeah, it’s a great honour. It’s fantastic. I’m in very good company with the people that have won it in the past. And the short films came about because I wanted to show people something they maybe hadn’t seen. I’ve been making short films and experimenting with different techniques and stuff. I’m most proud of my recent stuff. It’s been worth it. No one has told me what to do and what to change! I’ve paid for it all myself, which isn’t the best feeling!
Nick: The price of creative freedom, right?
Alex Proyas: Honestly, for the fun I’ve had making these films, it was worth it. It’s great that they’re [Gold Coast Film Festival] open to showing this sort of stuff, because to me it’s all about the future.
What does it look like? Where are we taking all of this? That’s what I’m most excited to talk about. What do we have to change to fix the broken model? How do you shift that? How do we change that? How do we make sure we increase income and revitalise the ability for independent filmmakers to earn a living doing this?
And I’m not saying by going to work on some big Hollywood movie as a crew member. I’m talking about spearheading this creative venture. It’s really, really important to start to talk about where we’re going to take this thing. It’s all about change. We’ve got to change this. It’s just not working for anyone.
Pointing the finger at things like AI, that’s not it. That’s a new possibility. That’s not the Armageddon facing the film industry. AI isn’t responsible for that. Maybe it’s a tool to actually save the industry from that. We have to talk about it. We can’t ignore it and hope it goes away. Sure, we have to legislate it. But it’s not going away. We have to make it ethical.
There are two arguments about AI. One is taking people’s work away. If Marvel is doing it, it’s taking people’s work away and they should be severely punished. If it’s independent filmmakers, making a film that they would otherwise not be able to make in any other way, then it’s a beautiful new opportunity for a whole new art form. I don’t accept the argument that it’s plagiarism. You don’t need AI to be a plagiarist! I’ve been plagiarised many times. It’s human beings.
And the AI arguments come from a place of fear. They’re not coming from a place of seeing the opportunity that emerges from this technology. With my career, we’re working on AI projects at the moment, and we’re taking active measure to make sure we don’t steal ideas from others. It’s been quite interesting.
Nick: I’d be remised to not bring up that it’s the 20th anniversary of I, Robot – which is a movie that I watched a lot growing up. What was your experience like working on that film? And how do you feel it’s held up 20 years later?
Alex Proyas: We were actually talking about this today, and it was a very prescient kind of project. We had some MIT professors and students helping us with the development of technologies in that film. And this was around 2000, and we said we were setting the film in the 2030-something, do you believe that the robots we’ve designed and developed will be a realistic projection?
And they thought – maybe? I thought we were being conservative! Actually, two of the guys are actually now principal scientists at Boston Dynamics. So, the robots aren’t just there yet, but it’s getting pretty close.
But it was a horrible experience because the studio was terrible to work with. I got away with most of what I wanted to write. I mean, I wanted it to be more deep and meaningful. Will [Smith] was great. He was always very supportive of the serious approach to what we were doing. The studio kept saying to both of us that they wanted more gags. They kept insisting on it.
So, eventually, we said we would do it, and we would do one take that was more serious, then one take with a one liner. They accepted that which basically meant I did get to make my version of the movie, but it also meant we had to test the studios version of the movie with the gags, and their movie tested through the roof.
It was the best test Fox had ever had. It scored 96 in the top two boxes. The last one to score that high was Ridley Scott’s Gladiator, and that only got a 92. And I said to Will, “Well, looks like they’re doing the funny version”. We didn’t have a hope in hell then. We tried to test my version to at least to see how it tests, and they wouldn’t let me. And by that point we had a release date and wouldn’t have had time to cut my version. I didn’t have final cut on that movie.
Nick: Do you feel like the work you’re doing now with the short films and self-financed projects is potentially an extension of the things you wanted to do and say in those films back then?
Alex Proyas: It’s a bit like psychoanalysing yourself. I mean, everything I do has got my “stuff” in it. It doesn’t matter whether the studio pushes back or not, it’s still somewhat my stuff. I think that’s what I’m trying to do with these movies, not just making entertainment. I’m trying to make a philosophical piece that also entertains. I hate audiences being bored and thinking, “God, this is fucking pretentious bullshit”. It’s about how cleverly you can hide it from a mainstream audience.
At the end of the day, I make movies for me. Gods of Egypt? I made that movie for 12-year-old me, when I first saw Star Wars. Like you with I, Robot, I saw Star Wars 20 times growing up. It’s not for every 12-year-old boy or girl in the world, but it was for 12-year-old me. When I made The Crow, I made that for 18-year-old me because he was allowed to see that sort of movie.
I don’t care about the 25-year-old women. I don’t care about 50-year-old men. I don’t care about 10-year-old girls. I’m making them for one person who loves industrial music, who loves the Gothic style, and violence, and mayhem. If every movie was made for everyone, you’re going to fuck it up for 18-year-old me. And then maybe my work will find others who like it too.
Thank you very much to Alex for being so generous with his time, and to PJ Marketing and Media and the Gold Coast Film Festival for organising the interview. For more information on the Gold Coast Film Festival, head to www.gcff.com.au
With the confirmation of Amazon’s latest hit TV series, Fallout, getting itself a second season, we thought it was time to have a quick look at what it is that is fast opening the doors for video game to TV adaptations. A genre finally sharing the quality storytelling that we as gamers have been experiencing for so long to a broader audience it so rightly deserves.
Warning for slight spoilers for Fallout season 1. I’ll keep it vague….
For those uninitiated, Prime Video’s latest worldwide phenom Fallout is based on Bethesda’s video game series of the same name. I know what you’re thinking, video game adaptations have not been done overly well in the past but stay with us. Fallout the TV series is a stand alone story set within a world created by Bethesda all those years ago.
200 years have passed since the world was destroyed by atomic war forcing people into underground shelters lined with lead known as “vaults”. Our main protagonist Lucy Maclean (Ella Purnell) has lived her entire life inside vault 33, a life she was looking forward to continuing after her arranged marriage to a member of an adjoining vault. Unfortunately those plans come crashing down in a flailing of blood, body parts, some destroyed curtains and the kidnapping of her father. Forcing Lucy to break the most sacred of rules and leave the safety of her vault to track down her father on the surface. Without knowing the horrors that await, Lucy and her plucky vault mentality strive forward to an unknown world.
Fallout does well in standing on its own as a gripping series so if you’re not a gamer or don’t know the lore of the games leave any worries you have behind the first time you hit play. From the very outset a world and story is being built full of interesting characters and intertwining relationships. Fallout makes you ask questions of its characters and their motives while also allowing you to take in the harsh realities of the world around them and what may be waiting just over the next rise.
Like anything with a pre existing fan base Fallout had the very real chance that it was going to go the same way as so many have before and be a real let down for the “fans”. Thankfully Bethesda was brought in to assist in creating this world and a new story was penned removing the chance of comparisons with those we have spent hundreds of hours with. Fans will notice a multitude of small easter eggs throughout that will have you pointing them out to anyone that will listen, but it is the characters and world creation that steal the show.
Lucy feels like a new character stepping into the wasteland for the first time. Her relatively unimposing demeanor hides someone with years of survival training and a will to do what is needed to fulfill her mission. Lucy’s “do unto others” attitude and upbringing is a stark contrast to the world above, as her innocence is slowly chipped away; we see a hardened adventurer who has spec’d her perks in the right S.P.E.C.IA.L. order.
Much like the games we have a plethora of side characters to meet and form relationships with. Maximus (Aaron Moten) a squire with The Brotherhood of Steel is dreaming of becoming more and after a fight with a bear is able to step up and take the mantle of Knight, albeit feeling somewhat of an imposter in the armour. Not to be forgotten we have the scene stealing Cooper Howard (Walton Goggins) shadowing Lucy. An ex TV star that was around when the bombs first landed Cooper is now a walking talking ghoul that has been irreversibly altered due to his radiation exposure. Through the use of well timed flash backs we get a decent amount of a background on both Maximus and Cooper but it is Goggins performance as the noseless ghoul and the unsullied golden boy of film Cooper that brings more depth and intrigue to what could have ended up a one dimensional bad guy in the hands of others.
Fallout is a blast of a TV show that has universal appeal to fans of the Fallout world and newcomers alike. It is a gritty tale filled with intrigue, adventure and an underlining mystery that forces you to look beyond the brutality of a world devoid of order. Action is never far away and gives the over the top and stylised feel the games are known for, without any of the crashes.
Pacing of the story stumbles occasionally only in a way that made me press stop for the day and come back to finish the next, in a world of binge watching this isn’t a bad thing.
The creators of Fallout have created a world both bleak and beautiful filling it with well fleshed out characters and a story that has you hooked from the beginning. Its faithfulness to the games is on show in nearly every scene but it doesn’t delve into compulsory nuances for you to get completely invested in the world.
If you’ve been on the fence I’ll tell you what I’ve told everyone that has asked me about Fallout, knowing I am a gamer. Watch it.. Forget it is based on a game and enjoy being brought into a world gamers have loved for over two decades.
Fallout is streaming now on Amazon Prime and the whole season is available to watch. Let each episode sink in before you start the next though, you’ll be better for it at the end.
In the electrifying comedy espionage anime to big screen adaptation, directors Kazuhiro Furuhashi & Takashi Katagiri deliver a gripping narrative that blends heart-pounding action with heartfelt emotion. Set in a world of clandestine operations and covert missions, this film is a masterclass in suspense, intrigue, and unexpected twists. You may be asking yourself what exactly is Spy X Family Code? It sounds complicated and do I need to know everything about the TV show to get into the movie. Fortunately, this is not the case at all. Nagahama ensures that no previous knowledge of the TV series is required to jump into this adventure.
At its core, “Spy X Family Code: White” follows the story of a skilled operative Loid (Hiroshi Kamiya), tasked with a seemingly impossible mission: to infiltrate an elite private school and befriend the son of a high-ranking government official. However, there’s a catch — Loid must pose as a family man, complete with a wife and child. Enter Yor Forger (Saori Hayami), a talented con artist, and Anya Forger (Atsumi Tanezaki), a young girl with psychic abilities. Together, they form a makeshift family unit in an effort to maintain Loid’s cover.
The film’s premise sets the stage for a delightful blend of action, comedy, and heartfelt moments. Furuhashi & Katagiri expertly navigate between pulse-pounding espionage sequences and endearing family dynamics, taking the family on vacation and having a baking competition for a class assignment as the big draw card is what keeps this film connected to its anime series roots in the best way.
One of the film’s greatest strengths lies in its well-rounded characters. Loid, with his stoic demeanour and unparalleled combat skills, is a compelling protagonist whose internal struggles add depth to the story. Yor brings a refreshing blend of wit and charm to the table, while Anya’s precociousness and psychic abilities add an intriguing layer to the family dynamic. Together, they form an unlikely yet endearing trio whose interactions are as entertaining as they are heartwarming.
The animation in Spy X Family Code: White is nothing short of spectacular. From high-octane action sequences to tender moments of , every frame is meticulously crafted to draw viewers into the story’s richly detailed world. The fluid animation and dynamic cinematography enhance the film’s sense of excitement and tension, ensuring that every moment feels visually stunning and emotionally resonant.
In addition to its thrilling action and engaging characters, the film also excels in its exploration of themes such as identity and found family. Through Twilight’s struggles to balance his dual roles as a spy and a surrogate father, the film raises thought-provoking questions about the sacrifices we make for the greater good and the true meaning of family.
While Spy X Family Code: White is primarily an action-packed anime, it also delivers plenty of laughs thanks to its well-timed humour and witty dialogue. Whether it’s Loid’s awkward attempts at domesticity or Anya’s mischievous antics, the film strikes a perfect balance between tension and levity, ensuring that is consistently entertaining over its two hour run time.
However, despite its many strengths, Spy X Family Code: White is not without its flaws. Certain plot twists turned out to be a little predictable, if you haven’t watched the tv show, there is a lack of deeper exploration of the film’s secondary characters. Additionally, the pacing occasionally may feel sluggish for viewers of the TV show who already know the history and background of these characters and the world. This can cause certain scenes to feel underdeveloped as a result.
Spy X Family Code: White is a thrilling and emotionally resonant film that offers a fresh take on the espionage genre. With its compelling characters, breathtaking animation, and engaging narrative, it’s a must-see for fans of action-packed thrillers and heartfelt family dramas alike. While it may not be perfect, its strengths far outweigh its weaknesses.
An entertaining espionage comedy with heart. Don’t miss it.
No stranger to divisiveness in his filmography, Zack Snyder’s first iteration of a self-proclaimed attempt at his own ‘Star Wars’ hit Netflix at the end of 2023 with quite a lot of anticipation leading up to it, despite audiences knowing that not only was Rebel Moon only the first part of a two-hander, but was also an edited version of the film for more general audiences to enjoy before a longer, more brutal director’s cut was expected to release later in 2024. Four different movies for one script… no one does excess like Snyder!
Unfortunately, Rebel Moon: Part One – A Child of Fire did not land too well, with critics and audiences alike feeling underwhelmed by his attempt to build a brand new, sci-fi based world with the substance, story, and characters of something like Dune, but the execution showcased that far more effort was put into the style, rather than the substance.
And the lacklustre reception to Part One has somewhat rippled into the release of Rebel Moon: Part Two – The Scargiver, which is releasing April 19th on Netflix, but with considerably less fanfare and anticipation than its predecessor, despite it being the better of the two films, by far. Beware – spoilers for Rebel Moon: Part One lie ahead!
Following a deadly battle against the Realm, Kora (Sofia Boutella) and the survivors reside to Veldt, where the resistance prepare to defend their new home. During their rallying, Kora’s past affiliations with the Realm begin to come to light, causing the trust of the soldiers and people she’s been fighting to defend, to be brought into question.
What Part One struggled to balance in world building, storytelling, and action, Part Two seems to have a far better grasp on it. The best comparison can be made to the recent Dune films, from Denis Villeneuve. Dune: Part One set up the characters, the politics, and the world before allowing Dune: Part Two to come in and not just expand the story but let the groundwork laid in the previous film to be a foundation for what was ultimately an action-packed war film.
Rebel Moon: Part One did the same, albeit, in a far less interesting way. However, if you followed the basic arc of the story (bad guys are fascists, good guys just want to grow their grain, a leader rises to lead the rebellion to freedom), Part Two will serve as an entertaining continuation of the story because Snyder’s strengths are what truly shine in this sequel.
Stylistically, Rebel Moon: Part Two takes the brilliant aesthetic Snyder created, full of jaw-dropping scenery, unique and interesting character designs, and some pretty awesome action choreography, and focuses on those elements. In fact, the entire second half of this film is an epic scale action scene.
There is an electricity to the way Snyder shoots action, utilising dynamic camera work and seamlessly integrating special effects that is loaded with laser swords and guns, explosions, and of course, super-slow motion fight choreography, that looks awesome, even though it exacerbates the ‘style over substance’ issues with the film.
However, being a reasonably simplified sci-fi saga almost lends to the film being one that you can basically switch you brain off for, and enjoy the vivid colours and neon lit visual aesthetic that is quiet engaging to look at.
The story focuses again of Kora’s past with the Realm and its Imperium army in a way that only really hits a surface level of emotional investment. Rather than Kora dealing with the demons and trauma she’s repressed from her time with this fascist regiment, her guilt shifts to the fact that she’s kept this secret from those who are now close to her.
However, the film doesn’t really dive into the emotional conflict between characters that this secret holds, rather just utilising the small bit of drama it holds for a few ‘shout-y/yell-y’ scenes before the characters are forced to bond again in order to survive the oncoming violence. The acting across the board (aside from some more entertainingly unhinged moments from the villainous Ed Skrein) leaves a lot to be desired to assist that emotional investment too.
It’s hard to imagine how an extended version of each of these films will enhance the story, however it is something Snyder has pulled off before (see Batman v Superman: Ultimate Edition). The worldbuilding of this series doesn’t really do anything new outside of harness the unique visual stylings of Snyder’s direction and imagination, which is something that is prevalent in this film.
Rebel Moon: Part Two – The Scargiver is a far more action-packed film than its predecessor. However, the story still lacks the substance needed to make it feel like a sci-fi series worth investing more time, energy, and for Netflix, money into. If you don’t mind Snyder’s directorial stylings highlighting some pretty awesome action scenes, this is one film you can just switch off for, and enjoy the pretty colours.
Rebel Moon: Part Two – The Scargiver is on Netflix from April 19.
Directed by Luca Guadagnino and written by Justin Kuritzkes, Challengers stars Zendaya as once-promising tennis star turned coach Tashi Duncan, who’s husband Art Donaldson (Mike Faist) is on a bad losing streak. To change the tide of his career, Tashi sets him up at a lower-grade challenger tournament, but Art ends up against Patrick Zweig (Josh O’Connor), his former best friend and Tashi’s former lover. The plot follows their one-on-one match in 2019, but also backtracks their complicated and toxic story of codependence, lust, and deception over 13 years.
Luca Guadagnino’s latest film, his first with writer Kuritzkes, crackles like an eternal fire of venomous passion, in a way that I have never seen from him. His previous work would tend to fit into categories of romance or psychological drama, often blending in elements of eroticism, coming-of-age storytelling, and brutal body horror. His camera tends to linger within scenes, drawing them out until their breaking point, and crafting a remarkably real mise en scène, almost always on celluloid. Much of this carries true in Challengers, but we are gifted to a director breaking free of many of his conventions at the same time, crafting one of the slickest, sexiest, and most seductively intense sports movies we have seen in a long time, maybe of all time.
Zendaya is front-and-centre in this twisted triptych, playing Tashi at different ages (18 to 31) and nailing each and every phase of her carefully coordinated life, a life she is so happy to try and destroy if it means one cool night of pleasure. The character could so easily be put in that “bunny boiler” box of the manipulative woman at the centre of a man’s life, but Zendaya, Guadagnino and Kuritzkes seem unhappy with this far-too conventional and demeaning notion. Tashi plays these white boys like chess pieces, sure, but Zendaya and the filmmakers play her out as this intentional yet vulnerable person, angry and dangerous but all coming from a place of weakness that the game of tennis already exploited beyond her control. She is bitter, spiteful and severe but open, honest, and caring, letting her heart decide even if it makes no sense. This is Zendaya’s year, having already become the heart and soul of Dune: Part Two and opposing that with this remarkable performance of someone you love to hate but hate to love.
The equally extraordinary Mike Faist and Josh O’Connor are her opposing players in this game of pleasure. These two are rising stars and scene-stealers in their own right, Faist for originating Dear Evan Hansen’s Connor Murphy on Broadway and dominating Spielberg’s West Side Story as Riff, and O’Connor with acclaimed British drama God’s Own Country and Prince Charles in seasons 3 & 4 of The Crown. Here, playing best friends turned enemies over one woman, their sexual chemistry is as undeniable as are their totally opposing styles of performance. Faist’s Art is just a nice guy, a meek and mannered white knight with nothing bad to say so he says nothing at all, while O’Connor’s Patrick is the bad boyfriend that people with poor willpower say they “can’t get rid of”. They are two different sides of the same coin, pushing and pulling against each other, and in another movie, this would be a star-crossed sports romance for the two. Fighting over the same woman who gives neither the time of day unless she wants something in return, we are gifted deliberately foolish and delightful performances from the two. Their chemistry is perfectly pitched, and as much as you may want them to leave Zendaya aside and be happier together, their battles on and off the court are a thrill to watch.
Challengers totally took me by surprise. Perhaps I had come to expect a particular type of film by Guadagnino by this point, for better or worse, but this was at all turns an electric and acidic rollercoaster that echoes the high points of erotic and sports cinema, together at last. Guadagnino and his cinematographer Sayombhu Mukdeeprom remind one of how Mike Nichols and Bruce Surtees shot The Graduate, pulling out every camera trick in the book to keep the audience on the edge of their seats constantly. Extreme close-ups, tracking shots, “down the lens” close-ups, 180-degree rule breaks, invisible tennis floors, shifting points of view from player to player, alternating frame rates, a double split-diopter shot that made my jaw drop, and at one point the camera just becomes a tennis ball, because why not?
Challengers is a longer affair than expected, running a bit over 2 hours, but there is no dull moment. This is non-stop delicious and tantalizing drama, pulsating and sweating profusely, building and building until you can’t take anymore, all the while Trent Reznor and Atticus Ross’ electronic score gets the blood pumping all the way through, keeping everyone in the mood for a damn good time at the movies.
It’s fair to assume that the graceful, prestigious art from known as ballet, and gratuitous blood and gore, are probably two things you’d never find sharing an elevator together, let alone share a movie together.
But, when you get the horror-comedy geniuses from Radio Silence (filmmakers Matt Bettinelli-Olpin and Tyler Gillett), who helmed the most recent iterations of the Screamfranchise and the criminally underrated Ready or Not, you get the impossible in this new blood soaked take on the vampire flick, Abigail. And as it turns out, it makes for a damn fun time at the cinemas.
The titular Abigail is played by Alisha Weir (Matilda: The Musical), a 12-year-old ballerina whose father has some deep, mafioso-type, criminal ties. So much so that an eccentric and eclectic group of criminals, all unknown to each other, are hired to kidnap Abigail and hold her for ransom in a Victorian era manor run by Lambert (Giancarlo Esposito) (first red flag!), who advises the crew that they must stay in the manor for 24 hours for the heat on them to die down.
Keeping their identities secret and being gifted the nicknames of the vintage Hollywood Rat Pack, this ensemble of ragtag crims includes the mysterious yet incredibly intelligent Joey (Melissa Barrera), foul-mouthed crooked cop Frank (Dan Stevens), punk-rock aesthetic hacker Sammy (Kathryn Newton), French-Canadian muscle man Peter (Kevin Durand), US Marine medic Rickles (William Catlett), and inquisitive wheelman Dean (the late Angus Cloud).
Despite all being in on the same lucratively paying job, personalities clash and tensions rise between the group, as the walls of this creepy and elaborate manor begin to close in. However, their night has only just began after the discovery that the sweet, young, innocent ballerina tied up in the bedroom, is in fact a blood-thirsty vampire ready for the hunt.
And boy, does Abigail relish in its bloodthirst, something that of recent years has become a staple of Radio Silence’s filmmaking. Even with elements of the violence being effective in making the audience cringe and squirm, the dedication to the insanity and ridiculousness of some of the kills in this film make it feel firstly relevant to the story, and but secondly, not disgustingly gratuitous in ways other films in this genre can lean.
Vampire bites, slashing necks, exploding bodies and broken limbs are all on the menu, but the heightened nature of this ridiculous story, along with a strong dash of dark humour, puts Abigail in the camp of horror films that a truly a blast to enjoy. This isn’t a horror film that you will walk out of feeling all the doom and gloom of the world because it’s truly committed to being a fun time, that just happens to feature all of the gory violence horror fans love.
Once Abigail’s terrifying torment begins, the action continually ramps up the intensity from scene to scene, showcasing some astounding choreography from the fight co-ordinators. However, what set’s these set pieces apart is the integration of Abigail’s ballet abilities, with two fantastically executed moments involving dance and death. This unique approach to horror violence is another great example of Radio Silence building on the incredible set pieces they’ve already show audiences in their previous films.
That dark comedy trickles through the film, not just through its bat-shit insanity, but the amazing ensemble cast, led by such a sassy, fierce performance (both physically and personality wise) from Alisha Weir, who steals every moment she’s on screen as the vampire. Often, her quick witted, harsh insults dig deeper under the skin of characters more than her fangs. And utilising her background in dance adds another layer of entertainment to those ballet-based action scenes.
Melissa Barrera gives another solid performance in her filmography, grounding a lot of the emotion in the film in the reuniting with the Radio Silence team post-Scream. The complexities of Joey add enough emotional substance to the story to be invested, but it is never in sacrifice of once again seeing Barrera launch herself into bad-ass heroine mode, lending her ability to brutally defend herself from murderous beings (as seen previously in the Scream franchise).
Often, scenes are stolen by Kathryn Newton, Dan Stevens and Kevin Durand, all of whom have outlandish characters the relish and chew up the scenery, bringing the sense of levity and fun to the film. The wicked banter between the crew and pulling off some hilarious one-liners during all the insanity, lands very well.
Abigail is a perfect reminder that horror films, no matter how blood splattered they may be, can be an immense amount of fun. And if the filmmaking team behind Radio Silence keep moving forward on this trajectory, it will shock no one when they’re movies are beloved and referenced by horror fans for decades to come.
