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Chris Sawin (602 KP) rated Venom: Let There Be Carnage (2021) in Movies
Dec 14, 2021
Tom Hardy's performance. (2 more)
Better CGI than the first film.
The film is stupidly fun.
It is REALLY dumb. (2 more)
Shriek is a wasted character.
Woody Harrelson's "hair."
Idiotic Gold
Venom was an unlikely hit for Sony Pictures making over $850 million worldwide – despite being a sloppy mess of a film.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Purple Phoenix Games (2266 KP) rated Cosmic Run: Regeneration in Tabletop Games
Jun 12, 2019
One of the best parts of the board gaming experience is finding a fun group of people with whom to play! Sometimes, though, coordinating a game night is easier said than done. We all must occasionally forego the group experience and face the world as the Lonely Only. But fear not! The world of solo-play is a vast and exciting realm! What follows is a chronicle of my journey into the solo-playing world – notes on gameplay, mechanics, rules, difficulty, and overall experience with solo variations of commonly multiplayer games! I hope this will provide some insight as you continue to grow your collection, or explore your already owned games!
Space – the Final Frontier. Well, not anymore. You’re living in the year 2123, and space travel is not a novel idea. In fact, Earth has become uninhabitable, and the human race must find a new planet to call home! You and your team of explorers have taken to the galaxies to find a suitable replacement for the future of mankind. By befriending aliens and outmaneuvering rival explorers, your team will be credited with the discovery of new colonies on these distant planets. It’s a literal Space Race, so kick on that hyper-drive and take to the stars!
Cosmic Run: Regeneration is a competitive or cooperative dice-rolling game in which players are racing to earn the most victory points by being the first to discover new planets. It’s a Yahtzee-style push-your-luck game where you must roll certain sets of identical dice to advance your ships on the individual planet tracks. Dice can also be used to ‘hire’ aliens or find crystals, which can give you special abilities once per game. The planets must be discovered in a timely manner, though, because passing meteors could cause damage to, or even completely destroy, these planets – this is space, after all. Players earn victory points in three ways – by being the first to discover a planet, based on their position on a planet’s track if they are not the first to discover it, or by retiring sets of aliens. The player with the most victory points once all 6 planets are discovered is the winner! When playing solo, the game is played essentially the same way, with some minor differences. If the solo player discovers all 6 planets before any one is destroyed or before the meteor deck runs out, they win! However, if even a single planet is destroyed or they are not all discovered before the meteor deck runs out, the solo player loses.
I enjoy playing Cosmic Run: Regeneration as a solo game because it’s simple, but not easy. You’re just rolling dice, but you need a strategy. Do you try to advance quickly on the easiest tracks, or do you commit dice to more difficult tracks and hope that the dice rolls will be on your side? Be careful – once you commit a die to a certain track, it cannot be moved. I’ve played so many games where I commit dice to Planet 2 (2-of-a-kind) and end up rolling 3 more of the same number that could’ve been used on Planet 5 (5-of-a-kind) if I’d just committed them there in the first place! A lot of the game is dependent on the luck of the roll, but I feel like you still need a solid strategy to be successful. There’s a good balance between the two – I still feel like I’m in control of the game even though I can’t control how the dice will roll.
The one main difference between solo and group play is that the solo player is allowed to spend VPs to create ‘forcefields’ around planets. This is because in group play if a planet is destroyed, players score points for their track progress, and the game continues. For the solo player, however, if a planet is destroyed, the game is over. When playing solo, I can choose to spend either 5 or 10 VPs to create a forcefield around either 1 or all planets to protect them from meteors for one turn. Without this option in solo play, it would be impossible to win. The first 4 cards of the meteor deck are guaranteed to hit 4 different planets, so right off the bat you are starting at kind of a disadvantage. Each planet only takes 3 hits to be destroyed, so depending on how well the meteor deck is shuffled, the game would be over quickly if I weren’t able to create forcefields. It all comes back to strategy – you have to decide when to spend those VPs and what planets need protecting at any given point in the game.
That being said, scoring VPs is not really easy in solo play. To score points for a planet, you have to physically reach the planet surface – and that can take a while depending on how well you are rolling. You can hire/retire aliens for VPs, but alien cards have a die cost, so if you are hiring aliens all the time, those are dice you are not using to advance on planet tracks. And each turn, planets get closer to destruction if you don’t advance on their tracks fast enough. You can earn VPs when you land on a VP token space – you do not pick up the token if you pass it, you must land exactly on it. So all in all, you can’t afford to protect every planet every turn. You have to strategize carefully about how to risk your hard-earned VPs. The most frustrating thing is when I pay VPs to protect a planet that isn’t even the one that gets hit! 5 VPs gone that I usually can’t get back in a single turn. But that’s all part of the push-your-luck isn’t it? There’s no reward without risk, and sometimes it’s better to be safe than sorry. I’m usually not a very risky game player, but in this game I have to be. Playing it safe is not an option when I’m racing against the meteor deck.
Cosmic Run: Regeneration is a game of strategy with some healthy helpings of luck and risk-taking. You need a solid strategy, but one that is flexible enough to adapt to your dice rolls on any given turn. No game is a guaranteed win – if I win it’s usually at the last possible second. This game is easy to play, but not necessarily easy to win and that’s what keeps me coming back to play. Even as a solo game, it’s engaging and I think it’s pretty fun too!
https://purplephoenixgames.wordpress.com/2019/01/25/solo-chronicles-cosmic-run-regeneration/
Space – the Final Frontier. Well, not anymore. You’re living in the year 2123, and space travel is not a novel idea. In fact, Earth has become uninhabitable, and the human race must find a new planet to call home! You and your team of explorers have taken to the galaxies to find a suitable replacement for the future of mankind. By befriending aliens and outmaneuvering rival explorers, your team will be credited with the discovery of new colonies on these distant planets. It’s a literal Space Race, so kick on that hyper-drive and take to the stars!
Cosmic Run: Regeneration is a competitive or cooperative dice-rolling game in which players are racing to earn the most victory points by being the first to discover new planets. It’s a Yahtzee-style push-your-luck game where you must roll certain sets of identical dice to advance your ships on the individual planet tracks. Dice can also be used to ‘hire’ aliens or find crystals, which can give you special abilities once per game. The planets must be discovered in a timely manner, though, because passing meteors could cause damage to, or even completely destroy, these planets – this is space, after all. Players earn victory points in three ways – by being the first to discover a planet, based on their position on a planet’s track if they are not the first to discover it, or by retiring sets of aliens. The player with the most victory points once all 6 planets are discovered is the winner! When playing solo, the game is played essentially the same way, with some minor differences. If the solo player discovers all 6 planets before any one is destroyed or before the meteor deck runs out, they win! However, if even a single planet is destroyed or they are not all discovered before the meteor deck runs out, the solo player loses.
I enjoy playing Cosmic Run: Regeneration as a solo game because it’s simple, but not easy. You’re just rolling dice, but you need a strategy. Do you try to advance quickly on the easiest tracks, or do you commit dice to more difficult tracks and hope that the dice rolls will be on your side? Be careful – once you commit a die to a certain track, it cannot be moved. I’ve played so many games where I commit dice to Planet 2 (2-of-a-kind) and end up rolling 3 more of the same number that could’ve been used on Planet 5 (5-of-a-kind) if I’d just committed them there in the first place! A lot of the game is dependent on the luck of the roll, but I feel like you still need a solid strategy to be successful. There’s a good balance between the two – I still feel like I’m in control of the game even though I can’t control how the dice will roll.
The one main difference between solo and group play is that the solo player is allowed to spend VPs to create ‘forcefields’ around planets. This is because in group play if a planet is destroyed, players score points for their track progress, and the game continues. For the solo player, however, if a planet is destroyed, the game is over. When playing solo, I can choose to spend either 5 or 10 VPs to create a forcefield around either 1 or all planets to protect them from meteors for one turn. Without this option in solo play, it would be impossible to win. The first 4 cards of the meteor deck are guaranteed to hit 4 different planets, so right off the bat you are starting at kind of a disadvantage. Each planet only takes 3 hits to be destroyed, so depending on how well the meteor deck is shuffled, the game would be over quickly if I weren’t able to create forcefields. It all comes back to strategy – you have to decide when to spend those VPs and what planets need protecting at any given point in the game.
That being said, scoring VPs is not really easy in solo play. To score points for a planet, you have to physically reach the planet surface – and that can take a while depending on how well you are rolling. You can hire/retire aliens for VPs, but alien cards have a die cost, so if you are hiring aliens all the time, those are dice you are not using to advance on planet tracks. And each turn, planets get closer to destruction if you don’t advance on their tracks fast enough. You can earn VPs when you land on a VP token space – you do not pick up the token if you pass it, you must land exactly on it. So all in all, you can’t afford to protect every planet every turn. You have to strategize carefully about how to risk your hard-earned VPs. The most frustrating thing is when I pay VPs to protect a planet that isn’t even the one that gets hit! 5 VPs gone that I usually can’t get back in a single turn. But that’s all part of the push-your-luck isn’t it? There’s no reward without risk, and sometimes it’s better to be safe than sorry. I’m usually not a very risky game player, but in this game I have to be. Playing it safe is not an option when I’m racing against the meteor deck.
Cosmic Run: Regeneration is a game of strategy with some healthy helpings of luck and risk-taking. You need a solid strategy, but one that is flexible enough to adapt to your dice rolls on any given turn. No game is a guaranteed win – if I win it’s usually at the last possible second. This game is easy to play, but not necessarily easy to win and that’s what keeps me coming back to play. Even as a solo game, it’s engaging and I think it’s pretty fun too!
https://purplephoenixgames.wordpress.com/2019/01/25/solo-chronicles-cosmic-run-regeneration/
Emma @ The Movies (1786 KP) rated Ready or Not (2019) in Movies
Nov 5, 2019
Contains spoilers, click to show
I enjoyed this because it was basically bat shit crazy, but I also had some issues with it. The trailers looked great but going back to them now you see quite a lot of action from key points in the film. Because of the haphazard nature of everything I don't think it spoils anything but at the time I couldn't remember many of the trailers going in. The vibe I remembered getting from them was very much You're Next with a vague hint of Clue.
What stopped me in my tracks a little was what the film was trying to be. I thought it was going to be a homedy (yes I'm still trying to make my horror-comedy hybrid work), your traditional crazy horror with a comedic leaning... but what happened was a lot of drama, they were actually trying to be serious. Well, as serious as you can get when you're in the middle of hunting a bride on her wedding night. When mother and son sit to have a heart to heart I was actually taken out of the film for a moment as it wasn't in keeping with what else was happening.
Had this gone all the way over to crazy horror I would have given it a higher rating, they're fast paced and entertaining, the slight indecisiveness of what came to the screen really knocked it down for me. Even with the bizarre magic box tradition this film could have been something more serious but not by the time we get to that ending.
I'm really thankful that this game adaptation was at least better than Truth Or Dare. I don't think I could stand another stinker like that. The story is a nice easy one to get along with, family acquire a magic box that keeps them thriving and all they have to do is occasionally sacrifice someone that's loved deeply by one of the family... good old Satan bringing us a solid storyline.
Samara Weaving, or as I have to keep reminding myself "not Margot Robbie", plays our blushing bride, Grace. Boy does she throw a lot at this role, I like to think she got a lot of stress relief out of this as she fights back at her would be murderers. Thankfully Grace didn't end up in many of the drama-y bits so there was little to be annoyed about. Her magic moments included punching Georgie, swearing at the car and wailing like a banshee at the end like she'd gone feral. Bravo! But I think the best and worst bit was when she climbed out of hell, you knew what she was thinking, you knew she had no option and oh my god did I hurt in sympathy.
Adam Brody has to be the other stand out performance for me as the brother-in-law, Daniel Le Domas. We get a very small introduction to his character as a child but it really did help you to understand the way he is and why he reacts the way he does as they hunt Grace. The guilt he has from the first Hide & Seek he participated in is clearly part of the reason he's the son who's off the rails, but he keeps his protective nature from his childhood in adulthood towards his brother and Grace. He stops and talks with Grace during the hunt and you can see him switching allegiances as we get further through the story. Brody conveys this well and is actually the one character that you can sort of sympathise with. His death is the beginning of the end and it's an emotional moment that played out well on screen. I think he probably came out better not surviving to the end of the film.
There are lots of highs and lows with various characters throughout. Fitch is the "dumb" one and there was something magical about seeing him YouTubing how to use a crossbow and later asking Charity at what point they should cut and run.
Mark O'Brien as Alex Le Domas was probably my least favourite character. His scripting felt rather bland compared to some of the others... but mainly... what an arsehole! Just live in sin man! Why potentially doom her, I'm sure it wouldn't have been too hard to fall off the radar somehow. If he was already slightly estranged I can't see that going altogether would be much of a stretch.
Alex also gets what is possibly the most annoying part of the script, he's handcuffed to the bed and he starts using the chain as a saw to try to get through the ornamental bar... these aren't bit of Ikea furniture... in what universe is that going to work in this timeframe?! Stand up and throw your weight on it until it snaps! I was wondering if he was actually trying to break the handcuffs (an equally stupid idea), and do we actually see how he gets out of them? Now I've confused myself.
Anyway, this will become an epic if I don't move on.
I quite liked the way the film looked, once we got to the evening the whole set became a beautiful golden autumnal palette and it gave you a sense of wealth and history, but when you add in the blood and seeking you get a real sense of the hiding (that makes sense in my head). It did at times become dark, it was never so bad that you couldn't see what was happening but it allowed for the reintroduction of light at the end as the house burns behind her which was a nice touch.
The final sequence should probably get its own mention. Alex, obviously about to break after seeing his brother die and Grace bludgeoning his mother, is bizarrely confirming his fears that the pair will not be together after what has happened. He then turns on her so he can get back the only thing left in his life, his (now slightly smaller) family. I loved the slightly vampiric turn the scene took as they're exposed to the morning sun, I'm not sure I'd have recoiled from it quite so much but I appreciated the comedic value it added. The family's actual demise and Grace's ghost sighting are the reason this needed to be a homedy (Still no? Whatever.), there's no way that fits in with anything more serious. And I'm sorry but overall I didn't find it that funny, much like Last Blood I was reacting to the ridiculous violence.
I like to think that as the last bit of the house disintegrates in the fire and Grace is still sitting bleeding on the steps that a firefighter comes over with the seemingly untouched magic box and hands it to her because it looks like a family heirloom. She's a Le Domas now, and everything is hers...
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/ready-or-not-spoilers-movie-review.html
What stopped me in my tracks a little was what the film was trying to be. I thought it was going to be a homedy (yes I'm still trying to make my horror-comedy hybrid work), your traditional crazy horror with a comedic leaning... but what happened was a lot of drama, they were actually trying to be serious. Well, as serious as you can get when you're in the middle of hunting a bride on her wedding night. When mother and son sit to have a heart to heart I was actually taken out of the film for a moment as it wasn't in keeping with what else was happening.
Had this gone all the way over to crazy horror I would have given it a higher rating, they're fast paced and entertaining, the slight indecisiveness of what came to the screen really knocked it down for me. Even with the bizarre magic box tradition this film could have been something more serious but not by the time we get to that ending.
I'm really thankful that this game adaptation was at least better than Truth Or Dare. I don't think I could stand another stinker like that. The story is a nice easy one to get along with, family acquire a magic box that keeps them thriving and all they have to do is occasionally sacrifice someone that's loved deeply by one of the family... good old Satan bringing us a solid storyline.
Samara Weaving, or as I have to keep reminding myself "not Margot Robbie", plays our blushing bride, Grace. Boy does she throw a lot at this role, I like to think she got a lot of stress relief out of this as she fights back at her would be murderers. Thankfully Grace didn't end up in many of the drama-y bits so there was little to be annoyed about. Her magic moments included punching Georgie, swearing at the car and wailing like a banshee at the end like she'd gone feral. Bravo! But I think the best and worst bit was when she climbed out of hell, you knew what she was thinking, you knew she had no option and oh my god did I hurt in sympathy.
Adam Brody has to be the other stand out performance for me as the brother-in-law, Daniel Le Domas. We get a very small introduction to his character as a child but it really did help you to understand the way he is and why he reacts the way he does as they hunt Grace. The guilt he has from the first Hide & Seek he participated in is clearly part of the reason he's the son who's off the rails, but he keeps his protective nature from his childhood in adulthood towards his brother and Grace. He stops and talks with Grace during the hunt and you can see him switching allegiances as we get further through the story. Brody conveys this well and is actually the one character that you can sort of sympathise with. His death is the beginning of the end and it's an emotional moment that played out well on screen. I think he probably came out better not surviving to the end of the film.
There are lots of highs and lows with various characters throughout. Fitch is the "dumb" one and there was something magical about seeing him YouTubing how to use a crossbow and later asking Charity at what point they should cut and run.
Mark O'Brien as Alex Le Domas was probably my least favourite character. His scripting felt rather bland compared to some of the others... but mainly... what an arsehole! Just live in sin man! Why potentially doom her, I'm sure it wouldn't have been too hard to fall off the radar somehow. If he was already slightly estranged I can't see that going altogether would be much of a stretch.
Alex also gets what is possibly the most annoying part of the script, he's handcuffed to the bed and he starts using the chain as a saw to try to get through the ornamental bar... these aren't bit of Ikea furniture... in what universe is that going to work in this timeframe?! Stand up and throw your weight on it until it snaps! I was wondering if he was actually trying to break the handcuffs (an equally stupid idea), and do we actually see how he gets out of them? Now I've confused myself.
Anyway, this will become an epic if I don't move on.
I quite liked the way the film looked, once we got to the evening the whole set became a beautiful golden autumnal palette and it gave you a sense of wealth and history, but when you add in the blood and seeking you get a real sense of the hiding (that makes sense in my head). It did at times become dark, it was never so bad that you couldn't see what was happening but it allowed for the reintroduction of light at the end as the house burns behind her which was a nice touch.
The final sequence should probably get its own mention. Alex, obviously about to break after seeing his brother die and Grace bludgeoning his mother, is bizarrely confirming his fears that the pair will not be together after what has happened. He then turns on her so he can get back the only thing left in his life, his (now slightly smaller) family. I loved the slightly vampiric turn the scene took as they're exposed to the morning sun, I'm not sure I'd have recoiled from it quite so much but I appreciated the comedic value it added. The family's actual demise and Grace's ghost sighting are the reason this needed to be a homedy (Still no? Whatever.), there's no way that fits in with anything more serious. And I'm sorry but overall I didn't find it that funny, much like Last Blood I was reacting to the ridiculous violence.
I like to think that as the last bit of the house disintegrates in the fire and Grace is still sitting bleeding on the steps that a firefighter comes over with the seemingly untouched magic box and hands it to her because it looks like a family heirloom. She's a Le Domas now, and everything is hers...
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/ready-or-not-spoilers-movie-review.html
Bob Mann (459 KP) rated Joker (2019) in Movies
Nov 10, 2019
Joachim Phoenix - Oscar winning performance? (1 more)
Look and feel of the film - technically brilliant
A loser's tale.
“Joker” has managed to stir up a whirlwind of controversy, centring partly around the level of violence included but also on the use of “that song” on the soundtrack. But putting aside that flurry of commentary, what of the film itself?
Man, this is a dark film! It’s as much of an anti-superhero film as this year’s “Brightburn“. The Batman legacy has addressed the mental state of the protagonists before (both that of the hero and the villains). Here we have a real study of how a mentally unstable no-hoper can be pushed over the edge by bigotry, carelessness and government cut-backs.
Indeed, there is something alarmingly prescient about the movie’s plot line, watching this as we (in the UK) are in the month of possible (or as Boris Johnson would say, definite) Brexit madness! “Is it me, or is it getting crazier out there?” Arthur Fleck muses to his social worker (Sharon Washington). And a rant by Arthur late on goes “Everybody just yells and screams at each other. Nobody’s civil anymore. Nobody thinks what it’s like to be the other guy. You think men like Thomas Wayne ever think what it’s like to be someone like me? To be somebody but themselves? They don’t. They think that we’ll just sit there and take it, like good little boys! That we won’t werewolf and go wild!” Chilling words as we possibly face a very bumpy October and November in the UK.
After reviewing “Judy” I wouldn’t be the least surprised if I’d just seen the Best Actress award bagged (by Renée Zellweger). Now, with “Joker”, surely Joachim Phoenix might bag his first (and well overdue in my book) Oscar. Although nominated before (for “Gladiator”, “Walk the Line” and “The Master”) he’s never won. Here Phoenix’s physical transformation into Arthur Fleck is SIMPLY EXTRAORDINARY. And the way he captures the (medically) induced fits of helpless laughter, ending in a sort of choking fit, is brilliant and replicated to a ‘T’ on multiple occasions.
I loved “You Were Never Really Here“, primarily due to Phoenix’s pitch-perfect performance. And “Joker” reminded me very much of Lynne Ramsey‘s film: a disturbed loner, looking after his elderly mother; with violence meted out to wrong-doers. Joe is almost the yin to Arthur Fleck’s yang: Joe is an invisible man who is very much present; Arthur is a very visible man who thinks he is invisible. There’s even comment by Fleck towards the end of the film that sometimes he thinks he’s ‘not really there at all’! (A deliberate ‘in’ joke in reference to that film?)
After some pretty piss-poor “pension grabs” in recent years, culminating in the appalling career- nadir of “Dirty Grandpa” in 2016, Robert De Niro comes good with a fine performance as the idolised but thoughtless and cruel talk-show host Murray Franklin. It’s very much a supporting role, but delivered with great aplomb.
Also great again is “Deadpool 2“‘s Zazie Beetz (a great trivia answer for an actor with three ‘z’s’ in the name). This angle of the story is deviously clever, and Zazie handles the various twists and turns brilliantly.
Movie violence needs to be taken in context to both the film’s story and to the movie’s certificate. For those expecting a light and fluffy “Avengers” style of movie, they might be shocked by what they see. True that the film definitely pushes the boundaries of what I think is acceptable in a UK15-certificate film. … I suspect there were HEATED discussions at the BBFC after this screening! The violence though seems comparable to some other 15’s I’ve seen: a DIY-store drill scene in “The Equalizer” comes to mind.
A particularly brutal scene is reminiscent of a climactic scene in “Once Upon a Time… in Hollywood“, such that Quentin Tarantino might have just cause to appeal his ‘UK18’ certificate.
You might argue about the level of violence that SHOULD be shown in a 15 certificate film. But I think the violence portrayed – given this is in the known context an origin story for a psychopathic killer – is appropriate. I personally found the Heath Ledger‘s Joker’s “pencil trick” scene in “The Dark Knight” more disturbing, given it was a 12 certificate.
I have less sympathy for the inclusion of “Rock and Roll Part 2” on the soundtrack. The fact that a convicted paedophile (I refuse to say his name) is profiting from the ticket sales is galling. This is almost deliberately courting controversy. There has been some view that this is a “traditional” chant song at US football matches (as “The Hey Song”). But most (all?) teams have now recognized the connection and stopped its use. At least here the director and producers should have more of a ‘world view’ on this.
Where “Hangover” director Todd Phillips does recover some of this respect is in the quality of the script (co-written with Scott Silver) and the direction. It’s misdirection without mis-direction! Some of the twists in the plot (no spoilers here!) I did not see coming, and certain aspects of the story (again no spoilers!) are left brilliantly (and chillingly) vague.
Sure, it borrows heavily in story-line and mood from Martin Scorsese‘s “Taxi Driver”. And I was also reminded of 1993’s Joel Schumacher flick “Falling Down” where Michael Douglas is an ordinary man pushed to the edge and beyond by a series of life’s trials. But if you want to criticise a film for “not being 100% original” then let’s start at the top of the 2019 IMDB listings and keep going! I’ve also seen comment from some that criticises the somewhat clunky overlay of the Batman back-story into the script. I also understand that view but I didn’t personally share it.
Elsewhere I would not be surprised if the movie gets garlanded with technical Oscar nominations aplenty come January. The cinematography, by Phillips-regular Lawrence Sher, is exquisite in setting the grimy 70’s tone. (I loved the retro Warner Brothers logo too). And both video and sound editing is top-notch. Not forgetting a sonorous cello-heavy soundtrack that perfectly suits the mood. Want to put a bet on which film might top the “number of Oscar nominations” list? This might not be a bad choice.
Dark and brooding, with a slow-burn start, this is a proper drama that might make action superhero fans fidgety. But I simply loved it, and would love to carve out the time to give it a re-watch. The Phoenix performance is extraordinary. Will this make my Top 10 of the year? Fingers to head, and pull the trigger…. it’s a no-brainer.
Man, this is a dark film! It’s as much of an anti-superhero film as this year’s “Brightburn“. The Batman legacy has addressed the mental state of the protagonists before (both that of the hero and the villains). Here we have a real study of how a mentally unstable no-hoper can be pushed over the edge by bigotry, carelessness and government cut-backs.
Indeed, there is something alarmingly prescient about the movie’s plot line, watching this as we (in the UK) are in the month of possible (or as Boris Johnson would say, definite) Brexit madness! “Is it me, or is it getting crazier out there?” Arthur Fleck muses to his social worker (Sharon Washington). And a rant by Arthur late on goes “Everybody just yells and screams at each other. Nobody’s civil anymore. Nobody thinks what it’s like to be the other guy. You think men like Thomas Wayne ever think what it’s like to be someone like me? To be somebody but themselves? They don’t. They think that we’ll just sit there and take it, like good little boys! That we won’t werewolf and go wild!” Chilling words as we possibly face a very bumpy October and November in the UK.
After reviewing “Judy” I wouldn’t be the least surprised if I’d just seen the Best Actress award bagged (by Renée Zellweger). Now, with “Joker”, surely Joachim Phoenix might bag his first (and well overdue in my book) Oscar. Although nominated before (for “Gladiator”, “Walk the Line” and “The Master”) he’s never won. Here Phoenix’s physical transformation into Arthur Fleck is SIMPLY EXTRAORDINARY. And the way he captures the (medically) induced fits of helpless laughter, ending in a sort of choking fit, is brilliant and replicated to a ‘T’ on multiple occasions.
I loved “You Were Never Really Here“, primarily due to Phoenix’s pitch-perfect performance. And “Joker” reminded me very much of Lynne Ramsey‘s film: a disturbed loner, looking after his elderly mother; with violence meted out to wrong-doers. Joe is almost the yin to Arthur Fleck’s yang: Joe is an invisible man who is very much present; Arthur is a very visible man who thinks he is invisible. There’s even comment by Fleck towards the end of the film that sometimes he thinks he’s ‘not really there at all’! (A deliberate ‘in’ joke in reference to that film?)
After some pretty piss-poor “pension grabs” in recent years, culminating in the appalling career- nadir of “Dirty Grandpa” in 2016, Robert De Niro comes good with a fine performance as the idolised but thoughtless and cruel talk-show host Murray Franklin. It’s very much a supporting role, but delivered with great aplomb.
Also great again is “Deadpool 2“‘s Zazie Beetz (a great trivia answer for an actor with three ‘z’s’ in the name). This angle of the story is deviously clever, and Zazie handles the various twists and turns brilliantly.
Movie violence needs to be taken in context to both the film’s story and to the movie’s certificate. For those expecting a light and fluffy “Avengers” style of movie, they might be shocked by what they see. True that the film definitely pushes the boundaries of what I think is acceptable in a UK15-certificate film. … I suspect there were HEATED discussions at the BBFC after this screening! The violence though seems comparable to some other 15’s I’ve seen: a DIY-store drill scene in “The Equalizer” comes to mind.
A particularly brutal scene is reminiscent of a climactic scene in “Once Upon a Time… in Hollywood“, such that Quentin Tarantino might have just cause to appeal his ‘UK18’ certificate.
You might argue about the level of violence that SHOULD be shown in a 15 certificate film. But I think the violence portrayed – given this is in the known context an origin story for a psychopathic killer – is appropriate. I personally found the Heath Ledger‘s Joker’s “pencil trick” scene in “The Dark Knight” more disturbing, given it was a 12 certificate.
I have less sympathy for the inclusion of “Rock and Roll Part 2” on the soundtrack. The fact that a convicted paedophile (I refuse to say his name) is profiting from the ticket sales is galling. This is almost deliberately courting controversy. There has been some view that this is a “traditional” chant song at US football matches (as “The Hey Song”). But most (all?) teams have now recognized the connection and stopped its use. At least here the director and producers should have more of a ‘world view’ on this.
Where “Hangover” director Todd Phillips does recover some of this respect is in the quality of the script (co-written with Scott Silver) and the direction. It’s misdirection without mis-direction! Some of the twists in the plot (no spoilers here!) I did not see coming, and certain aspects of the story (again no spoilers!) are left brilliantly (and chillingly) vague.
Sure, it borrows heavily in story-line and mood from Martin Scorsese‘s “Taxi Driver”. And I was also reminded of 1993’s Joel Schumacher flick “Falling Down” where Michael Douglas is an ordinary man pushed to the edge and beyond by a series of life’s trials. But if you want to criticise a film for “not being 100% original” then let’s start at the top of the 2019 IMDB listings and keep going! I’ve also seen comment from some that criticises the somewhat clunky overlay of the Batman back-story into the script. I also understand that view but I didn’t personally share it.
Elsewhere I would not be surprised if the movie gets garlanded with technical Oscar nominations aplenty come January. The cinematography, by Phillips-regular Lawrence Sher, is exquisite in setting the grimy 70’s tone. (I loved the retro Warner Brothers logo too). And both video and sound editing is top-notch. Not forgetting a sonorous cello-heavy soundtrack that perfectly suits the mood. Want to put a bet on which film might top the “number of Oscar nominations” list? This might not be a bad choice.
Dark and brooding, with a slow-burn start, this is a proper drama that might make action superhero fans fidgety. But I simply loved it, and would love to carve out the time to give it a re-watch. The Phoenix performance is extraordinary. Will this make my Top 10 of the year? Fingers to head, and pull the trigger…. it’s a no-brainer.
Purple Phoenix Games (2266 KP) rated 13 Monsters in Tabletop Games
Dec 5, 2019
Guys and gals, I have a confession. I am not good at memory games. I already surmised it is due to my increasing age, as my 3-year-old son tore through our plays of Farm Rescue, so I am not above resigning myself to the fact that it may be age. In any case, 13 Monsters starts out as a memory game then quickly transforms into a punish-thy-neighbor-into-oblivion monster battle game. Intrigued? We were too…
As I mentioned in the intro, and as you can see in the first photo below, 13 Monsters starts out as a memory tile-flipping game and then becomes a bash-em’-up for domination. The goal of 13 Monsters is to end the game holding the monsters with the highest total Hit Points (HP). Now how you get there is another matter entirely.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, purchase the game through the Kickstarter campaign running until December 20, 2019, or through any retailers stocking it after fulfillment. -T
To setup 13 Monsters, a randomized 9×9 grid of monster tiles are spread across the play surface with the longer title tile placed square in the middle (see what I did there?). Place the five d6 on the table to be used by any player. Determine the first player (whomever is the most beastly) and you are ready to play!
Turns are played in phases where you will initially be hunting the playing field trying to find matching monstersets to build a complete monster. Monstersets are horizontally matching tiles belonging to the same monster. So the top set is the head, the middle is the eyes, and the bottom is the body of the monster. This phase will continue in turns until multiple players have at least one monsterset. Things now start getting interesting.
Once you have at least one monsterset you can, before hunting from the field, offer to trade monstersets with other players. You may also use an ability named “Sacrifice,” which allows you to rearrange your monstersets to create a more powerful monster. Why would you want to rearrange? Monsters come in five elemental flavors – fire, water, earth, air, and ghost. Monsters with matching elemental monstersets are more powerful than those with mismatched elemental monstersets. This will come into play later when the monsters battle for supremacy.
Battles. Once you have a complete monster (head, eyes, body) you can, on your turn and before hunting, attack another monster. When attacking, both the attacker and defender will be throwing the five dice in hopes of ending with the highest total of pips of a matching set (like five 6s on the d6). The winner will then claim a monsterset from the involved monster (or separate monsterset) and add it to their collection. Monsters with more elementally-matching sets will be able to throw the dice more times versus a completed monster with mismatched elemental sets, so THAT is why using Sacrifice can make or break a battle.
There are other special abilities that are unlocked with different combinations of monsters: “Permafrost” allows the player to place a die on a tile that other players will not be able to flip on their hunting turn. However, once a battle is initiated all Permafrost dice are removed from the board to be used in the battle, so it is not a long-term tactic to be used. “Prophet” allows the player to flip over three tiles instead of the normal two tiles and can be very powerful when used correctly – you need to have a “Monster O.G.” which is a monster with all matching tiles belonging to the same completed monster. The final ability is “Supernova” and can only be used by a completed 13th Monster (the only Ghost-element monster, shown below). Supernova allows the player to sacrifice the 13th Monster in order to absorb (steal) a complete monster from any player and add it to their personal collection. The 13th Monster then leaves the game, but the controlling player will still receive the HP points for having collected and used it.
Play continues in this fashion until all tiles have been collected from the playing field. Once the final pair is taken, players are then allowed to declare one final battle against any opponent in hopes to bolster their final score. The player with the most HP shared among their completed monsters is the winner and ultimate Beast Master!
Components. Again, we were provided a prototype copy of the game, but from what I understand, the final production copy of the game will be very similar to this version if not exactly the same. What comprises the game is a ton of monster tiles and five dice. That doesn’t sound like a lot, and it’s not. But these are great quality tiles and normal quality dice (which I am hoping will become pink to match the main color found throughout the game). I love the overall art style. The art is what really pops out at you because the monsters are all uniquely weird and intriguing and kinda cute at the same time. I also very much appreciate that the team thought to include little bubbles next to the element icon on the tiles to indicate to which layer the tile belongs: head, eyes, body. Excellent touch. Overall the components are great, and the rulebook is killer. Outstanding work went into making this game visually stunning.
Is it a good game? It is certainly a very cool spin on Memory and adds modular monster building and player vs player battles where you can win each others’ components. I love it! Even though I am horrible at memory games, this gives me options once I do find a monsterset. I can trade and attack my way to building more and better monsters – but the dice have to be on my side, and I’m cool with that. If you are looking for something to add to your collection that is a brilliant hybrid of many different mechanics and looks absolutely incredible on the table, then please check out 13 Monsters. It rewards tactics, but also has that element of luck to help balance everything out. I’m a big fan!
As I mentioned in the intro, and as you can see in the first photo below, 13 Monsters starts out as a memory tile-flipping game and then becomes a bash-em’-up for domination. The goal of 13 Monsters is to end the game holding the monsters with the highest total Hit Points (HP). Now how you get there is another matter entirely.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, purchase the game through the Kickstarter campaign running until December 20, 2019, or through any retailers stocking it after fulfillment. -T
To setup 13 Monsters, a randomized 9×9 grid of monster tiles are spread across the play surface with the longer title tile placed square in the middle (see what I did there?). Place the five d6 on the table to be used by any player. Determine the first player (whomever is the most beastly) and you are ready to play!
Turns are played in phases where you will initially be hunting the playing field trying to find matching monstersets to build a complete monster. Monstersets are horizontally matching tiles belonging to the same monster. So the top set is the head, the middle is the eyes, and the bottom is the body of the monster. This phase will continue in turns until multiple players have at least one monsterset. Things now start getting interesting.
Once you have at least one monsterset you can, before hunting from the field, offer to trade monstersets with other players. You may also use an ability named “Sacrifice,” which allows you to rearrange your monstersets to create a more powerful monster. Why would you want to rearrange? Monsters come in five elemental flavors – fire, water, earth, air, and ghost. Monsters with matching elemental monstersets are more powerful than those with mismatched elemental monstersets. This will come into play later when the monsters battle for supremacy.
Battles. Once you have a complete monster (head, eyes, body) you can, on your turn and before hunting, attack another monster. When attacking, both the attacker and defender will be throwing the five dice in hopes of ending with the highest total of pips of a matching set (like five 6s on the d6). The winner will then claim a monsterset from the involved monster (or separate monsterset) and add it to their collection. Monsters with more elementally-matching sets will be able to throw the dice more times versus a completed monster with mismatched elemental sets, so THAT is why using Sacrifice can make or break a battle.
There are other special abilities that are unlocked with different combinations of monsters: “Permafrost” allows the player to place a die on a tile that other players will not be able to flip on their hunting turn. However, once a battle is initiated all Permafrost dice are removed from the board to be used in the battle, so it is not a long-term tactic to be used. “Prophet” allows the player to flip over three tiles instead of the normal two tiles and can be very powerful when used correctly – you need to have a “Monster O.G.” which is a monster with all matching tiles belonging to the same completed monster. The final ability is “Supernova” and can only be used by a completed 13th Monster (the only Ghost-element monster, shown below). Supernova allows the player to sacrifice the 13th Monster in order to absorb (steal) a complete monster from any player and add it to their personal collection. The 13th Monster then leaves the game, but the controlling player will still receive the HP points for having collected and used it.
Play continues in this fashion until all tiles have been collected from the playing field. Once the final pair is taken, players are then allowed to declare one final battle against any opponent in hopes to bolster their final score. The player with the most HP shared among their completed monsters is the winner and ultimate Beast Master!
Components. Again, we were provided a prototype copy of the game, but from what I understand, the final production copy of the game will be very similar to this version if not exactly the same. What comprises the game is a ton of monster tiles and five dice. That doesn’t sound like a lot, and it’s not. But these are great quality tiles and normal quality dice (which I am hoping will become pink to match the main color found throughout the game). I love the overall art style. The art is what really pops out at you because the monsters are all uniquely weird and intriguing and kinda cute at the same time. I also very much appreciate that the team thought to include little bubbles next to the element icon on the tiles to indicate to which layer the tile belongs: head, eyes, body. Excellent touch. Overall the components are great, and the rulebook is killer. Outstanding work went into making this game visually stunning.
Is it a good game? It is certainly a very cool spin on Memory and adds modular monster building and player vs player battles where you can win each others’ components. I love it! Even though I am horrible at memory games, this gives me options once I do find a monsterset. I can trade and attack my way to building more and better monsters – but the dice have to be on my side, and I’m cool with that. If you are looking for something to add to your collection that is a brilliant hybrid of many different mechanics and looks absolutely incredible on the table, then please check out 13 Monsters. It rewards tactics, but also has that element of luck to help balance everything out. I’m a big fan!
Jamie Towell Cook (13 KP) rated the PlayStation 4 version of Kingdom Hearts III in Video Games
Apr 6, 2020
Contains spoilers, click to show
Kingdom Hearts 3 is the long anticipated third part officially in the series. It started back in 2002 and now in 2019 we finally have the 3rd (and allegedly) final part of what is Sora and his friends story. In this time we have travelled to many beloved Disney classics from Mount Olympus to Neverland and for some bizarre reason we even went to Tarzan's world. During all of this Sora is learning how to be the Keyblade wielder and defend all the worlds from the threat of the darkness. On his journey he meets many familiar faces ranging from final fantasy characters such as Cloud, Tidus and Vivi to famous disney heroes such as Ariel, Beast, Jack Skellington.
Unfortunalty since it began in 2002 Kingdom Hearts became a jumbled mess jumping on different consoles along the way. It may have begun as a PlayStation game but soon after there was a spin off for the game boy advance and another for the psp and another for the nintendo ds. Releasing titles that actually continue the plot from the original game on various different consoles and expecting fans to just role with that and keep up, well thats not exactly the best of ideas! Luckily the story so far has been released and rereleased and rererereleased so that fans can figure out just what the hell is actually going on in this either brilliantly masterminded tale or a way for the game producers to milk the franchise for all its worth. I'll let you decide that one.
So any ways, with a whopping 14 years between KH2 and KH3 a lot has changed within the Disney world and with their new corporate purchases a lot of people had questions about what would we see in a new Kingdom Hearts. Would the new game feature any worlds from Marvel? Would we see something from the Muppet Show? Maybe Star Wars? The answer to this was a big fat no. They were going to keep it old school Disney......although by old school Disney that didn't have the same meaning as what I thought it would. Instead of the familiar faces we have grown accustomed to there is no Halloween Town, no Neverland, no Atlantica (Thank god, good call on that one) instead we visit new realms, draining whatever is left from the Frozen franchise and travelling to worlds such as Arendale, San Frantokyo and some other Disney Pixar worlds. Now i'm not saying there is anything wrong with these worlds because they are beautiful and stunning and fun to play through. Couldn't they have at least tried to feature some golden oldies as well. Something else that i noticed that as well that made me feel disappointed in this release was the lack of final fantasy characters, minus a very brief glimpse of 2 characters as statues thats pretty much it.
The story itself is appealing as it continues the tales of Sora, Ventus and Roxas and ultimately brings the trios story to a (almost) conclusion. The voice acting for the kingdom hearts series will never win any awards and in some areas is just hands down terrible but, as it plays out you notice it a lot less and just want to see where its all headed.
The gameplay is as it has always been, if its not broke don't fix it. There are a few additions though. Kingdom Hearts 1 had abilities, in kingdom hearts 2 we seen this become built upon by fusion. This was a way of fusing Sora's abilities with either Donald or Goofy and eventually both. Leading to Wisdom mode, which was magic based. Valour mode, which was strength and defence based. Master, which, yes you guessed it, is a mix of all the above. Limit mode, which brings Sora's abilities to the spotlight. Then you had Final form which was basically a combination of Limit and Master and finally there was anti form, this turned Sora into a heartless version of himself with attacks and abilities to match. These were all scrapped in Kingdom Hearts 3 to make way for attractions, which is an attack based on Disneyworld theme park attractions. There are also attacks based on whose in your team as well. As fun as these are in the beginning, they get old and repetitive fast. The summons have never really played a main part in the Kingdom Hearts series since its first release and KH3 makes that very apparent again, with what i thought was a very lackluster 5 summons in the form of Ariel, Ralph, Stitch, Simba and a dream eater from Kingdom Hearts own series. I mean come on, wheres Mushu? Genie? Bambi? Dumbo? Tinkerbell? Why aren't there any new ones? They could have played up new Pixar entries such as Bolt or Up, even The Incredibles.
The other feature that is new and unique to KH3 is the ability to transform the Keyblade. Now picking up a new keyblade isn't just about the stat boosts, they each feature something different and unique. Without giving too much away, all i can really say about this is the additions to turn your weapon in to such things as shields, blasters and other random creations based on the worlds they are related to is actually a brilliant concept and makes up for the drive form that was taken from KH2 and not featured again.
I really hope that Square Enix are planning on releasing some decent DLC for KH3. Hopefully in the form of some old Disney worlds, a coliseum and some extra story with old familiar faces. Because it is definitely needed.
The Gummi ship does manage to make a come back (yet again). I would like to say something positive about this because it does seem like a lot of work went into making this feel like a more relevant part of the game but, the controls take a bit of figuring out and there is no real need for it other than it being a mini game really.
If Square Enix does add some DLC that adds worlds, characters, keyblades and modes. Then i honestly believe they could boost the game from being a good game to an amazing game. Just listen to the fans, hear what they want and deliver.
I wish i had better news for Kingdom Hearts fans. Especially those who have waited those 14 years but i am judging this game harshly because of my love for the series and the length of time it has been under development.
Unfortunalty since it began in 2002 Kingdom Hearts became a jumbled mess jumping on different consoles along the way. It may have begun as a PlayStation game but soon after there was a spin off for the game boy advance and another for the psp and another for the nintendo ds. Releasing titles that actually continue the plot from the original game on various different consoles and expecting fans to just role with that and keep up, well thats not exactly the best of ideas! Luckily the story so far has been released and rereleased and rererereleased so that fans can figure out just what the hell is actually going on in this either brilliantly masterminded tale or a way for the game producers to milk the franchise for all its worth. I'll let you decide that one.
So any ways, with a whopping 14 years between KH2 and KH3 a lot has changed within the Disney world and with their new corporate purchases a lot of people had questions about what would we see in a new Kingdom Hearts. Would the new game feature any worlds from Marvel? Would we see something from the Muppet Show? Maybe Star Wars? The answer to this was a big fat no. They were going to keep it old school Disney......although by old school Disney that didn't have the same meaning as what I thought it would. Instead of the familiar faces we have grown accustomed to there is no Halloween Town, no Neverland, no Atlantica (Thank god, good call on that one) instead we visit new realms, draining whatever is left from the Frozen franchise and travelling to worlds such as Arendale, San Frantokyo and some other Disney Pixar worlds. Now i'm not saying there is anything wrong with these worlds because they are beautiful and stunning and fun to play through. Couldn't they have at least tried to feature some golden oldies as well. Something else that i noticed that as well that made me feel disappointed in this release was the lack of final fantasy characters, minus a very brief glimpse of 2 characters as statues thats pretty much it.
The story itself is appealing as it continues the tales of Sora, Ventus and Roxas and ultimately brings the trios story to a (almost) conclusion. The voice acting for the kingdom hearts series will never win any awards and in some areas is just hands down terrible but, as it plays out you notice it a lot less and just want to see where its all headed.
The gameplay is as it has always been, if its not broke don't fix it. There are a few additions though. Kingdom Hearts 1 had abilities, in kingdom hearts 2 we seen this become built upon by fusion. This was a way of fusing Sora's abilities with either Donald or Goofy and eventually both. Leading to Wisdom mode, which was magic based. Valour mode, which was strength and defence based. Master, which, yes you guessed it, is a mix of all the above. Limit mode, which brings Sora's abilities to the spotlight. Then you had Final form which was basically a combination of Limit and Master and finally there was anti form, this turned Sora into a heartless version of himself with attacks and abilities to match. These were all scrapped in Kingdom Hearts 3 to make way for attractions, which is an attack based on Disneyworld theme park attractions. There are also attacks based on whose in your team as well. As fun as these are in the beginning, they get old and repetitive fast. The summons have never really played a main part in the Kingdom Hearts series since its first release and KH3 makes that very apparent again, with what i thought was a very lackluster 5 summons in the form of Ariel, Ralph, Stitch, Simba and a dream eater from Kingdom Hearts own series. I mean come on, wheres Mushu? Genie? Bambi? Dumbo? Tinkerbell? Why aren't there any new ones? They could have played up new Pixar entries such as Bolt or Up, even The Incredibles.
The other feature that is new and unique to KH3 is the ability to transform the Keyblade. Now picking up a new keyblade isn't just about the stat boosts, they each feature something different and unique. Without giving too much away, all i can really say about this is the additions to turn your weapon in to such things as shields, blasters and other random creations based on the worlds they are related to is actually a brilliant concept and makes up for the drive form that was taken from KH2 and not featured again.
I really hope that Square Enix are planning on releasing some decent DLC for KH3. Hopefully in the form of some old Disney worlds, a coliseum and some extra story with old familiar faces. Because it is definitely needed.
The Gummi ship does manage to make a come back (yet again). I would like to say something positive about this because it does seem like a lot of work went into making this feel like a more relevant part of the game but, the controls take a bit of figuring out and there is no real need for it other than it being a mini game really.
If Square Enix does add some DLC that adds worlds, characters, keyblades and modes. Then i honestly believe they could boost the game from being a good game to an amazing game. Just listen to the fans, hear what they want and deliver.
I wish i had better news for Kingdom Hearts fans. Especially those who have waited those 14 years but i am judging this game harshly because of my love for the series and the length of time it has been under development.
5 Minute Movie Guy (379 KP) rated 47 Meters Down: Uncaged (2019) in Movies
Aug 26, 2019
I love a good shark movie. Since as far back as I can remember, I have been fascinated by sharks. I think they’re some of the most interesting creatures on our planet. Even when I was a kid, I used to wear shark tooth necklaces because I thought they were so cool. Basically any time you’ve got sharks in a movie, I’m all in for it. Amusingly enough, that same sentiment does not apply to video games where I think they’re terrifying! (Jaws on the original Nintendo freaked-me-out as a child.) Having said all that, I was excited to see 47 Meters Down: Uncaged, even though I missed out on the original film back in 2017. Johannes Roberts, the director of the minimalistic first film, 47 Meters Down, returns for this sequel and brings back the great white sharks, but shakes up for the formula a bit by adding an underwater maze to the mix.
The sequel focuses on teenaged loner Mia (Sophie Nélisse) who has recently relocated to Mexico with her father and step-family. Her father Grant (John Corbett) scouts and maps out underwater locations for a living, and has recently discovered an ancient sunken Mayan city. With the help of his two assistants, he’s currently in the process of mapping out its maze-like design. One day, Mia joins her sister Sasha (Corinne Foxx) whose two friends, Alexa (Brianne Tju) and Nicole (Sistine Stallone), take them to a hidden local cove for a day of fun. This location turns out to be one of the entrances to the historic labyrinth that Mia’s father Grant has been exploring. Alexa, who once dated one of Grant’s assistants, had gone diving with this former boyfriend into the submerged city before. Upon finding enough extra scuba gear for all of them on a floating dock in this isolated cove, Alexa pressures her friends into joining her on a brief underwater tour that ends up being anything but.
This sunken Mayan labyrinth that the four girls go inside to explore is the setting for most of the film. They’re supposed to be following Alexa, who knows part of the maze well enough to navigate it without getting them lost, but their stubborn and defiant friend Nicole decides to venture off-course and winds up endangering them all. In the aftermath of Nicole’s senselessness, a pillar gets knocked over, creating a domino effect of destruction that causes the entrance they came in through to collapse and get sealed off. Now they’ll have to find another way out. With limited oxygen and even less light and visibility, the girls have to swim deeper into the maze to try to look for an exit.
Quickly the girls come to discover they’re not as alone in this labyrinth as they first thought, and they find themselves in the presence of great white sharks. These sharks, blind from living their whole lives in the darkness of this lost city, have their other senses heightened as a result, and they’re on the hunt for blood. The arrival of these sharks, however, opens up a big plot hole in the story. How is it that Mia’s father has never seen these deadly sharks nor made any reference to them when he’s already spent weeks, possibly even months, exploring this sunken city? I suppose it’s possible that in the collapse of the entrance, another passageway may have opened up that let the sharks in. However, that logic doesn’t hold up, because had they came in from outside, they wouldn’t be blind. These particular sharks evolved down here, so it’s hard to believe they were never noticed before, especially considering how violent and aggressive they are.
That’s far from being the only problem with these sharks, though. They also look flat out awful. The quality of their special effects in this film is simply pitiful. I’m not even exaggerating when I say they often reminded me of that infamously bad shark attack scene from Jaws 3D. They look so fake and unbelievable that instead of feeling any sense of fear when they randomly appeared, I couldn’t help but cringe. It literally looks almost as bad as the Sharknado movies, but the key difference is that unlike the intentionally campy Sharknado movies, 47 Meters Down: Uncaged is actually trying to take itself seriously. Plus it has even has double the budget to work with.
47 Meters Down: Uncaged takes a very lazy and bare-bones approach to filmmaking. The story lacks substance, the characters and dialogue lack depth, and the visuals throughout most of the film are muddied and unclear. It’s rough on the eyes because the visuals are so obscured and are shrouded in so much darkness that it’s hard to actually see what’s happening on screen. This is often exploited as a cheap tactic to create jump scares by having the sharks suddenly appear from literally out of nowhere, which seems especially hard to believe since it’s doubtful these large sharks could smoothly navigate most of these narrow passageways in the first place. Despite the restrictive maze design, the film fails to create a sense of claustrophobia, and instead just gave me a headache.
The story progression in the film mostly feels generic and expected. There are new complications that arise and circumstances that change, but it’s all pretty standard fare. The ending, however, sets up a decent scenario, but it ends up being ruined by how unrealistic it is. Besides, after wading through all of the garbage to get there, I couldn’t be bothered to care much at that point. The acting in the film is mostly poor, but truthfully they’re never given much to work with. It’s also difficult to keep track of who is who once they’re inside the maze anyway because the visuals are so muddled. The movie does feature its share of violence and death, but its light on the gore and to me it always felt unsatisfying.
In all, 47 Meters Down: Uncaged sinks right to the bottom of my rating list as the worst movie I’ve seen in 2019. It’s lazy and bland to the point of being exhausting. There’s ultimately not one single thing about it that I can sincerely commend. The only thing I’m probably going to remember this movie for is how dreadful it looks and the 90 minutes of boredom and disappointment it caused me.
The sequel focuses on teenaged loner Mia (Sophie Nélisse) who has recently relocated to Mexico with her father and step-family. Her father Grant (John Corbett) scouts and maps out underwater locations for a living, and has recently discovered an ancient sunken Mayan city. With the help of his two assistants, he’s currently in the process of mapping out its maze-like design. One day, Mia joins her sister Sasha (Corinne Foxx) whose two friends, Alexa (Brianne Tju) and Nicole (Sistine Stallone), take them to a hidden local cove for a day of fun. This location turns out to be one of the entrances to the historic labyrinth that Mia’s father Grant has been exploring. Alexa, who once dated one of Grant’s assistants, had gone diving with this former boyfriend into the submerged city before. Upon finding enough extra scuba gear for all of them on a floating dock in this isolated cove, Alexa pressures her friends into joining her on a brief underwater tour that ends up being anything but.
This sunken Mayan labyrinth that the four girls go inside to explore is the setting for most of the film. They’re supposed to be following Alexa, who knows part of the maze well enough to navigate it without getting them lost, but their stubborn and defiant friend Nicole decides to venture off-course and winds up endangering them all. In the aftermath of Nicole’s senselessness, a pillar gets knocked over, creating a domino effect of destruction that causes the entrance they came in through to collapse and get sealed off. Now they’ll have to find another way out. With limited oxygen and even less light and visibility, the girls have to swim deeper into the maze to try to look for an exit.
Quickly the girls come to discover they’re not as alone in this labyrinth as they first thought, and they find themselves in the presence of great white sharks. These sharks, blind from living their whole lives in the darkness of this lost city, have their other senses heightened as a result, and they’re on the hunt for blood. The arrival of these sharks, however, opens up a big plot hole in the story. How is it that Mia’s father has never seen these deadly sharks nor made any reference to them when he’s already spent weeks, possibly even months, exploring this sunken city? I suppose it’s possible that in the collapse of the entrance, another passageway may have opened up that let the sharks in. However, that logic doesn’t hold up, because had they came in from outside, they wouldn’t be blind. These particular sharks evolved down here, so it’s hard to believe they were never noticed before, especially considering how violent and aggressive they are.
That’s far from being the only problem with these sharks, though. They also look flat out awful. The quality of their special effects in this film is simply pitiful. I’m not even exaggerating when I say they often reminded me of that infamously bad shark attack scene from Jaws 3D. They look so fake and unbelievable that instead of feeling any sense of fear when they randomly appeared, I couldn’t help but cringe. It literally looks almost as bad as the Sharknado movies, but the key difference is that unlike the intentionally campy Sharknado movies, 47 Meters Down: Uncaged is actually trying to take itself seriously. Plus it has even has double the budget to work with.
47 Meters Down: Uncaged takes a very lazy and bare-bones approach to filmmaking. The story lacks substance, the characters and dialogue lack depth, and the visuals throughout most of the film are muddied and unclear. It’s rough on the eyes because the visuals are so obscured and are shrouded in so much darkness that it’s hard to actually see what’s happening on screen. This is often exploited as a cheap tactic to create jump scares by having the sharks suddenly appear from literally out of nowhere, which seems especially hard to believe since it’s doubtful these large sharks could smoothly navigate most of these narrow passageways in the first place. Despite the restrictive maze design, the film fails to create a sense of claustrophobia, and instead just gave me a headache.
The story progression in the film mostly feels generic and expected. There are new complications that arise and circumstances that change, but it’s all pretty standard fare. The ending, however, sets up a decent scenario, but it ends up being ruined by how unrealistic it is. Besides, after wading through all of the garbage to get there, I couldn’t be bothered to care much at that point. The acting in the film is mostly poor, but truthfully they’re never given much to work with. It’s also difficult to keep track of who is who once they’re inside the maze anyway because the visuals are so muddled. The movie does feature its share of violence and death, but its light on the gore and to me it always felt unsatisfying.
In all, 47 Meters Down: Uncaged sinks right to the bottom of my rating list as the worst movie I’ve seen in 2019. It’s lazy and bland to the point of being exhausting. There’s ultimately not one single thing about it that I can sincerely commend. The only thing I’m probably going to remember this movie for is how dreadful it looks and the 90 minutes of boredom and disappointment it caused me.
Purple Phoenix Games (2266 KP) rated Fantasy Ranch in Tabletop Games
Jun 12, 2019 (Updated Jun 12, 2019)
Little known fact: my family used to be involved with local harness racing and horse training. Not much actually rubbed off on me, personally, but I do remember going to the stables to visit with the horses, and I was even allowed to ride the stable goat since I wasn’t yet big enough to get on the horses. Ahh, memories. So when I heard that a game existed with a horse ranching theme, I just HAD to get it to the table. Is it a good game though? Let’s find out! (spoilers: IT’S EXCELLENT!)
DISCLAIMER: The game comes with three modes of difficulty AND an included children’s game that also can be played on three modes of difficulty. For this review we are concentrating only on adult mode two. We felt mode one was too introductory, but we did not want to go all in right away on mode three. -T
As with most board games, you are trying to amass trophies (VP) and the winner at the end of five rounds is the rancher with the most trophies. On your turn you can take one Limited (standard) Action and as many Free Actions as you would like. Limited Actions include: buy a horse, buy a location on your ranch board, or farm your ranch for goods. Free Actions include: sell a horse, move horses to/from your home area to/from a different area on your ranch board, or trade goods at a 2:1 ratio. Once every player has taken their turn, you enter a show using the horses you have collected.
Buying a horse requires different amounts of food (in carrots) that you gain from different actions (farming your ranch, selling a horse). Luckily, spending food is a one-time action and you don’t have to feed your horses every turn. A great improvement over other “feed your villagers” games, in my opinion – yeah, I said it. Buying a location on your ranch board/playmat requires “tack,” which is symbolized by boot tokens (as seen below). You can always get more food and tack by farming your ranch, and you receive six goods of any combination, but that’s a Limited Action and prevents you from doing the other actions.
Selling a horse is easy, yet the separation anxiety is real, as you simply discard the horse for the amount of food it costs to purchase. Moving horses is easy too – your Home area of your ranch/playmat can only hold so many horses, so you will need to move horses of certain types to unlocked (purchased) matching areas on your ranch. This is important, as you cannot keep buying red horses or you will certainly run out of room for them, even if you unlock the red area on your ranch board. Plus unlocking sections of your ranch provides you with trophies at game end. The last free action is trading goods, which you do at a 2:1 ratio. So trade in two food for a tack or vice versa.
At shows you use horses for their specific specialty skills plus a die roll. Each horse has specialty in one area, and some skill in other areas. The number associated with a skill icon indicates the starting skill “strength” that you will add to your die roll. You roll all three dice of your color, take the highest result from the roll, and add the skill strength of the horse skill. That’s your score for the show. The highest number is awarded 1st place and the rewards printed, and so on and so forth for the other placing horses. This could result in more food or tack, or even your choice of horses for free from the sales barn.
On the very last turn of the game you will compete in three shows (instead of the normal two shows at the end of each turn) and can only use World Class horses, or buy your way into the show with food. The show process is the same, but it is the final push to earn as many trophies as possible before game end. And that’s it!
Components: This game is FULL of components. It’s a pretty stocked and heavy box, but still only the size of a Ticket to Ride box. The playmats, game boards, and cardboard chits are all of really great quality. The cards are great quality as well with photos of real existing horses (as well as the photos of real existing ranches on the giant ranch cards that are essentially beautiful player reference cards and resource holders). The best components of the game are the super cute little horeeples (oh no, that can’t possibly be correct). Horse-meeples. They come in different colors to match the areas on your ranch that you need to unlock and move them into so you don’t overcrowd your Home area. Even though my copy came with a green horse who lost his front legs, we know that he competes hard and lives his best life. The art is really really great and, though busy on the board at times, the game looks really good on the table. No qualms with the components on this one at all.
Here’s what I really like about this one. It’s a euro through and through, but it’s a euro that is actually exciting, with a unique theme, and one that I genuinely cannot wait to play again. I want to try mode three as soon as I can, and I really want to introduce my son to the game as soon as he is able to handle it. I am finding it really really hard to think of a game that comes ready to play three ways for adults, has components included to play the game three ways with children, and is actually super fun. I can’t think of any. This game is truly in a class by itself.
I love that no matter how tactical you play or how strategic you want to make it, sometimes the dice love/hate you and it could make all the difference. As you can see in the scores, we all love it (with the exception of my cousin Tony who rated it a three because of the dice – WHICH is odd because it is his father that was the harness racing jockey of the family). This review would have been live a week ago, but immediately after playing last weekend Josh said he would like to bring it home to play with his family. His wife is from Kentucky, and they kinda like horses and horse racing there. Well, his wife and son also rated this game out of 6. His wife gave Fantasy Ranch a 15 and his son rated it a 16. As that completely throws off my rating scale I did not add them, but as you can see we at Purple Phoenix Games give this one a very boot-kickin’ 19 / 24. If only we hadn’t invited Tony over to destroy the scores… We highly recommend you check this winner out. Seriously, it’s great.
https://purplephoenixgames.wordpress.com/2019/06/04/fantasy-ranch-review/
DISCLAIMER: The game comes with three modes of difficulty AND an included children’s game that also can be played on three modes of difficulty. For this review we are concentrating only on adult mode two. We felt mode one was too introductory, but we did not want to go all in right away on mode three. -T
As with most board games, you are trying to amass trophies (VP) and the winner at the end of five rounds is the rancher with the most trophies. On your turn you can take one Limited (standard) Action and as many Free Actions as you would like. Limited Actions include: buy a horse, buy a location on your ranch board, or farm your ranch for goods. Free Actions include: sell a horse, move horses to/from your home area to/from a different area on your ranch board, or trade goods at a 2:1 ratio. Once every player has taken their turn, you enter a show using the horses you have collected.
Buying a horse requires different amounts of food (in carrots) that you gain from different actions (farming your ranch, selling a horse). Luckily, spending food is a one-time action and you don’t have to feed your horses every turn. A great improvement over other “feed your villagers” games, in my opinion – yeah, I said it. Buying a location on your ranch board/playmat requires “tack,” which is symbolized by boot tokens (as seen below). You can always get more food and tack by farming your ranch, and you receive six goods of any combination, but that’s a Limited Action and prevents you from doing the other actions.
Selling a horse is easy, yet the separation anxiety is real, as you simply discard the horse for the amount of food it costs to purchase. Moving horses is easy too – your Home area of your ranch/playmat can only hold so many horses, so you will need to move horses of certain types to unlocked (purchased) matching areas on your ranch. This is important, as you cannot keep buying red horses or you will certainly run out of room for them, even if you unlock the red area on your ranch board. Plus unlocking sections of your ranch provides you with trophies at game end. The last free action is trading goods, which you do at a 2:1 ratio. So trade in two food for a tack or vice versa.
At shows you use horses for their specific specialty skills plus a die roll. Each horse has specialty in one area, and some skill in other areas. The number associated with a skill icon indicates the starting skill “strength” that you will add to your die roll. You roll all three dice of your color, take the highest result from the roll, and add the skill strength of the horse skill. That’s your score for the show. The highest number is awarded 1st place and the rewards printed, and so on and so forth for the other placing horses. This could result in more food or tack, or even your choice of horses for free from the sales barn.
On the very last turn of the game you will compete in three shows (instead of the normal two shows at the end of each turn) and can only use World Class horses, or buy your way into the show with food. The show process is the same, but it is the final push to earn as many trophies as possible before game end. And that’s it!
Components: This game is FULL of components. It’s a pretty stocked and heavy box, but still only the size of a Ticket to Ride box. The playmats, game boards, and cardboard chits are all of really great quality. The cards are great quality as well with photos of real existing horses (as well as the photos of real existing ranches on the giant ranch cards that are essentially beautiful player reference cards and resource holders). The best components of the game are the super cute little horeeples (oh no, that can’t possibly be correct). Horse-meeples. They come in different colors to match the areas on your ranch that you need to unlock and move them into so you don’t overcrowd your Home area. Even though my copy came with a green horse who lost his front legs, we know that he competes hard and lives his best life. The art is really really great and, though busy on the board at times, the game looks really good on the table. No qualms with the components on this one at all.
Here’s what I really like about this one. It’s a euro through and through, but it’s a euro that is actually exciting, with a unique theme, and one that I genuinely cannot wait to play again. I want to try mode three as soon as I can, and I really want to introduce my son to the game as soon as he is able to handle it. I am finding it really really hard to think of a game that comes ready to play three ways for adults, has components included to play the game three ways with children, and is actually super fun. I can’t think of any. This game is truly in a class by itself.
I love that no matter how tactical you play or how strategic you want to make it, sometimes the dice love/hate you and it could make all the difference. As you can see in the scores, we all love it (with the exception of my cousin Tony who rated it a three because of the dice – WHICH is odd because it is his father that was the harness racing jockey of the family). This review would have been live a week ago, but immediately after playing last weekend Josh said he would like to bring it home to play with his family. His wife is from Kentucky, and they kinda like horses and horse racing there. Well, his wife and son also rated this game out of 6. His wife gave Fantasy Ranch a 15 and his son rated it a 16. As that completely throws off my rating scale I did not add them, but as you can see we at Purple Phoenix Games give this one a very boot-kickin’ 19 / 24. If only we hadn’t invited Tony over to destroy the scores… We highly recommend you check this winner out. Seriously, it’s great.
https://purplephoenixgames.wordpress.com/2019/06/04/fantasy-ranch-review/
Purple Phoenix Games (2266 KP) rated Viceroy in Tabletop Games
Jun 12, 2019
One of the best parts of the board gaming experience is finding a fun group of people with whom to play! Sometimes, though, coordinating a game night is easier said than done. We all must occasionally forego the group experience and face the world as the Lonely Only. But fear not! The world of solo-play is a vast and exciting realm! What follows is a chronicle of my journey into the solo-playing world – notes on gameplay, mechanics, rules, difficulty, and overall experience with solo variations of commonly multiplayer games! I hope this will provide some insight as you continue to grow your collection, or explore your already owned games!
Power. That’s what everyone wants, isn’t it? Well, at least it is in Viceroy! As an inhabitant of the world of Laar, you are fighting to become the ultimate ruler. Recruit allies who provide strategic advantages and enact laws that solidify your claim for power. Do you have what it takes to build and maintain a powerful kingdom, or will your attempts fall short?
DISCLAIMER: There is an expansion to this game, but we are not reviewing it at this time. Should we review it in the future we will either update this review or post a link to the new material here. -T
Viceroy, a game of card drafting and tile placement, is played over 12 turns in which players build a pyramid with their cards – paying to place each card and collecting rewards based upon which level of the pyramid a card is placed. Each turn is divided into two phases: Auction and Development. During the Auction Phase, players bid gemstones to buy a card from the auction line. Once every player has either collected 1 card from auction or passed, play moves to the Development Phase. During the Development Phase, players can either play a card into their pyramid, pass, or discard a card and take 2 gemstones from the reserve. To play a Law card into your pyramid, you place it for free. To play a Character card into your pyramid, you have to pay for it with gems. The cost is dependent upon which level of the pyramid the card is to be placed. You must pay for the level the card will sit on, as well as pay the cost for every level beneath it. For example, to add a card to the third level of the pyramid, you must pay the cost for the 3rd level, AND 2nd level, AND 1st level. The rewards gained from adding a card to the pyramid, however, are taken only for the level on which the card sits. In the earlier example, you would only get the reward for the third level alone, since that is the level on which the card sits. The Development Phase is played over 3 rounds, so a player could play up to 3 cards into their pyramid during 1 Development Phase. After the 3 rounds are up, the next turn begins again in the Auction Phase. When all cards are gone from the Auction Deck, the game ends. Players count up all of their Power Points, and the player with the highest Power value wins!
The only change in Viceroy between a group and solo game is during the Auction Phase. Obviously, if you are playing solo, there is nobody to bid against for cards. How that is alleviated is that you still bid your gemstone as normal, and you randomly draw an unused gemstone from the box as an AI bid. If the colors match, you lose your gem and go on to the next auction. If the colors do not match, you collect your choice card, and the card the AI would have collected gets discarded. If the AI color does not match an available card, you just discard one of the remaining cards. This mimics group play in the sense that you might not always get the card you want from auction! The Development Phase is played as normal. At the end of the game, count points as normal and try to beat your own high score.
Viceroy is a neat game. Every card has so many options that there is no one single strategy that is a sure-win every time. Maybe one game I’ll go for Magic tokens. And maybe the next I’ll try to go for raw Power Point tokens. The possibilities really are endless, and that keeps this game fresh for me. I don’t feel like I’m just going through the motions because every card will act differently depending on where it is played. Strategy really is everything here. On the flip-side of that, however, is that sometimes the options can be a little overwhelming. With so many possibilities for each card, it can get hard for me to decide on what strategy I really want to use. It should also be noted that a card can only be played onto a level if it can sit on exactly 2 cards on the level beneath it. So sometimes I buy a card to play on a certain level only to get to the Development Phase and realize I don’t have a legal place to which I can play it. So do I sacrifice other cards/gemstones to build a slot for this one card, or do I play it to a different level and change my strategy a bit? There’s a little bit of a learning curve, but the more I play, the better I get (or at least, the better I think I get).
Another grievance with Viceroy is that I find myself running out of cards in my hand a lot. The only opportunity to draw cards is if you play a card into your pyramid that allows you to do so. And since I’m usually focused on other strategic routes, I don’t use those cards for those purposes. So then I play all of the cards in my hand (leaving me empty-handed), get 1 card at the next auction, play it, and am again left with no cards in my hand. To fix this issue, I wish one of the actions you could take during the Development Phase was to draw 1 card. I’m not sure if other people have this issue, or if it’s just me, but it’s a problem I run into almost every game.
Overall, I think Viceroy is a good game. It’s unique in the sense that there are so many possibilities that you’ll probably never play the same game twice, even if you decide to play by the same strategy. The mechanics and gameplay are cool too – it’s fun to watch your pyramid literally grow in front of you as the game progresses. This game takes a little more focus and thought than you might think, so it’s not one I’d necessarily just pull out for some light fun. I think Viceroy is as exciting as a solo game as it is as a group game since there really aren’t any differences between the two settings. If you like Viceroy, give it a try solo! If you’ve never played Viceroy, try it either solo or in a group – it’s the same game after all!
https://purplephoenixgames.wordpress.com/2019/04/18/solo-chronicles-viceroy/
Power. That’s what everyone wants, isn’t it? Well, at least it is in Viceroy! As an inhabitant of the world of Laar, you are fighting to become the ultimate ruler. Recruit allies who provide strategic advantages and enact laws that solidify your claim for power. Do you have what it takes to build and maintain a powerful kingdom, or will your attempts fall short?
DISCLAIMER: There is an expansion to this game, but we are not reviewing it at this time. Should we review it in the future we will either update this review or post a link to the new material here. -T
Viceroy, a game of card drafting and tile placement, is played over 12 turns in which players build a pyramid with their cards – paying to place each card and collecting rewards based upon which level of the pyramid a card is placed. Each turn is divided into two phases: Auction and Development. During the Auction Phase, players bid gemstones to buy a card from the auction line. Once every player has either collected 1 card from auction or passed, play moves to the Development Phase. During the Development Phase, players can either play a card into their pyramid, pass, or discard a card and take 2 gemstones from the reserve. To play a Law card into your pyramid, you place it for free. To play a Character card into your pyramid, you have to pay for it with gems. The cost is dependent upon which level of the pyramid the card is to be placed. You must pay for the level the card will sit on, as well as pay the cost for every level beneath it. For example, to add a card to the third level of the pyramid, you must pay the cost for the 3rd level, AND 2nd level, AND 1st level. The rewards gained from adding a card to the pyramid, however, are taken only for the level on which the card sits. In the earlier example, you would only get the reward for the third level alone, since that is the level on which the card sits. The Development Phase is played over 3 rounds, so a player could play up to 3 cards into their pyramid during 1 Development Phase. After the 3 rounds are up, the next turn begins again in the Auction Phase. When all cards are gone from the Auction Deck, the game ends. Players count up all of their Power Points, and the player with the highest Power value wins!
The only change in Viceroy between a group and solo game is during the Auction Phase. Obviously, if you are playing solo, there is nobody to bid against for cards. How that is alleviated is that you still bid your gemstone as normal, and you randomly draw an unused gemstone from the box as an AI bid. If the colors match, you lose your gem and go on to the next auction. If the colors do not match, you collect your choice card, and the card the AI would have collected gets discarded. If the AI color does not match an available card, you just discard one of the remaining cards. This mimics group play in the sense that you might not always get the card you want from auction! The Development Phase is played as normal. At the end of the game, count points as normal and try to beat your own high score.
Viceroy is a neat game. Every card has so many options that there is no one single strategy that is a sure-win every time. Maybe one game I’ll go for Magic tokens. And maybe the next I’ll try to go for raw Power Point tokens. The possibilities really are endless, and that keeps this game fresh for me. I don’t feel like I’m just going through the motions because every card will act differently depending on where it is played. Strategy really is everything here. On the flip-side of that, however, is that sometimes the options can be a little overwhelming. With so many possibilities for each card, it can get hard for me to decide on what strategy I really want to use. It should also be noted that a card can only be played onto a level if it can sit on exactly 2 cards on the level beneath it. So sometimes I buy a card to play on a certain level only to get to the Development Phase and realize I don’t have a legal place to which I can play it. So do I sacrifice other cards/gemstones to build a slot for this one card, or do I play it to a different level and change my strategy a bit? There’s a little bit of a learning curve, but the more I play, the better I get (or at least, the better I think I get).
Another grievance with Viceroy is that I find myself running out of cards in my hand a lot. The only opportunity to draw cards is if you play a card into your pyramid that allows you to do so. And since I’m usually focused on other strategic routes, I don’t use those cards for those purposes. So then I play all of the cards in my hand (leaving me empty-handed), get 1 card at the next auction, play it, and am again left with no cards in my hand. To fix this issue, I wish one of the actions you could take during the Development Phase was to draw 1 card. I’m not sure if other people have this issue, or if it’s just me, but it’s a problem I run into almost every game.
Overall, I think Viceroy is a good game. It’s unique in the sense that there are so many possibilities that you’ll probably never play the same game twice, even if you decide to play by the same strategy. The mechanics and gameplay are cool too – it’s fun to watch your pyramid literally grow in front of you as the game progresses. This game takes a little more focus and thought than you might think, so it’s not one I’d necessarily just pull out for some light fun. I think Viceroy is as exciting as a solo game as it is as a group game since there really aren’t any differences between the two settings. If you like Viceroy, give it a try solo! If you’ve never played Viceroy, try it either solo or in a group – it’s the same game after all!
https://purplephoenixgames.wordpress.com/2019/04/18/solo-chronicles-viceroy/
Purple Phoenix Games (2266 KP) rated Villages of Valeria in Tabletop Games
Jun 12, 2019
Oh, Valeria. How I do love thee! I have reviewed Valeria: Card Kingdoms (VCK) in the past and if you read that review you learned that it is my favorite game of all time (as of the date of this composition). I actually Kickstarted Villages of Valeria (VoV) before even playing VCK so this game was my introduction into the Valeriaverse. I feel obligated to publicly thank VoV for bringing me into one of my favorite gaming universes. But, how good IS this one?
In VoV you are a Duke/Duchess being charged by the King to found a new Capital City to replace the previous one that has been ravaged by the wars played out in VCK. The King has assigned you a castle to use as your HQ and expects the most enterprising Duke/Duchess to win the day by building the most flourishing village. Will you be able to create the resources necessary to build the most attractive buildings that adventurers will want to frequent? Or will you spend your time taxing your constituents to death?
DISCLAIMER: This review focuses on vanilla Villages of Valeria. We have all the released expansions and may do a review of them in the future. If we do, we will edit this review or link to the new review here. -T
VoV uses a handful of really great game mechanics that will be familiar to some gamers, but not intimidating enough to scare off new gamers, that really work well together to create an excellent gaming experience. I will address most of them here, but please do not use this review as a replacement for the rulebook, as I will not be addressing every single rule.
VoV is played over several rounds where every player will be taking a turn as the active player until someone has built the requisite number of buildings prescribed in the rulebook to trigger the end of the game. Each player starts with a castle card that provides a wild resource of your choice when you need to pay resources to build buildings on future turns. You are also given gold and a starting hand of cards in accordance with setup rules. Setup the decks of cards and create the offer rows for each and you are ready to play!
When you are the active player you will take an action from a list of five available actions: Harvest, Develop, Build, Recruit, and Tax. If you choose to Harvest on your turn you will draw three cards from either the face-up green building cards on the offer or blindly from the deck of green building cards. To Develop you will play a building card from your hand to the back of your castle, tucked underneath and upside down, to be used as the resources printed at the bottom of the card (wood, magic, stone, food). These resources are now available to be used for the build action (think of the brown and gray cards in 7 Wonders, if you’re familiar). When you take the Build action, you will be playing a building card from your hand to be built in the tableau in front of you. Since number of buildings is the end game trigger condition, you will be trying to build buildings as much as possible. All building cards have a cost printed on the left side of the card, and those costs will need to be paid for by using the gold you possess. You can use one gold on your own castle card as it provides a wild resource to you, and you can use one gold per card you have Developed previously for their resource benefit. You may even spend your gold to use an opponent’s resources (not their castle! – also akin to 7 Wonders neighbor resource purchasing). The catch here is that you lose that gold piece to your opponent, but they will not be able to use that resource until the beginning of their turn as active player. Most buildings will have benefits printed on them that either take effect immediately or when triggered by another action. When you Recruit an Adventurer, you are using your village’s buildings to attract them to your cause. Each Adventurer’s cost to recruit is printed on the side of the card, and these costs are paid by having the matching symbols on building cards in your village. Once recruited, these Adventurers can also enact conditional abilities similar to building cards, but usually will be advantages to final VP scores. By taking the Tax action you will take one gold from the bank and draw a building card from the offer or the deck.
Now this all seems pretty easy and I have only really mentioned one form of tension by blocking opponents’ use of their own resources if you spend a gold to use it on your turn. Since you reclaim all gold on your castle and resource cards in your village at the beginning of your turn this should cause no problems, right? Well, VoV also uses the follow mechanic that has been employed by other games previously. When you are the active player you choose which action you want to take on your turn, complete that action, and then the same action is offered to your opponents for them to take at a disadvantage. Example: I choose Tax as my action, so I take my gold and my card and my turn is over. Then, going around the table, each player can decide to follow my action but are only able to take a building card as a follow action. No gold. Each action has a Lead and Follow benefit, so you are always paying attention during the game, even on others’ turns because you might still benefit from the chosen actions.
Play continues like this with active player Lead actions and possible others’ Follow actions until someone triggers the end game condition. Then everyone completes the turn and VPs from all cards in your tableau are added (including gold pieces you collected). Most VPs wins the game of Villages of Valeria!
Components. Okay, I have to admit that I have the Kickstarter Deluxe version of this game so I am only speaking from experience with that version. The cards are of really good quality. The gold tokens and active player castle token are great, but the action tracker we found a bit cumbersome to use so we just, like, didn’t. The building tracker and castleeples are great as well. The art is by The Mico, and I just love his art style, so that’s a big positive for me. Overall, the components are really really nice.
So why do I love this game? Well, it’s really a mashup of mechanics that work well for me. I love the Lead/Follow mechanic. I love 7 Wonders, so borrowing some of those mechanics and nuances is a great fit for me. I absolutely LOVE The Mico’s artwork on every Valeria game. No two games of VoV will be alike because the amount of cards that come inside the box (and growing with every expansion) gives such a diverse gaming experience that I love playing. If you like any of the Valeria games and you have yet to try Villages of Valeria you MUST find a copy. You will be drawn in by the familiar feel of Valeria and mechanics from classic games that will surely delight. We at Purple Phoenix Games give this gem a bustling 20 / 24. Long live Valeria!
https://purplephoenixgames.wordpress.com/2019/04/05/villages-of-valeria-review/
In VoV you are a Duke/Duchess being charged by the King to found a new Capital City to replace the previous one that has been ravaged by the wars played out in VCK. The King has assigned you a castle to use as your HQ and expects the most enterprising Duke/Duchess to win the day by building the most flourishing village. Will you be able to create the resources necessary to build the most attractive buildings that adventurers will want to frequent? Or will you spend your time taxing your constituents to death?
DISCLAIMER: This review focuses on vanilla Villages of Valeria. We have all the released expansions and may do a review of them in the future. If we do, we will edit this review or link to the new review here. -T
VoV uses a handful of really great game mechanics that will be familiar to some gamers, but not intimidating enough to scare off new gamers, that really work well together to create an excellent gaming experience. I will address most of them here, but please do not use this review as a replacement for the rulebook, as I will not be addressing every single rule.
VoV is played over several rounds where every player will be taking a turn as the active player until someone has built the requisite number of buildings prescribed in the rulebook to trigger the end of the game. Each player starts with a castle card that provides a wild resource of your choice when you need to pay resources to build buildings on future turns. You are also given gold and a starting hand of cards in accordance with setup rules. Setup the decks of cards and create the offer rows for each and you are ready to play!
When you are the active player you will take an action from a list of five available actions: Harvest, Develop, Build, Recruit, and Tax. If you choose to Harvest on your turn you will draw three cards from either the face-up green building cards on the offer or blindly from the deck of green building cards. To Develop you will play a building card from your hand to the back of your castle, tucked underneath and upside down, to be used as the resources printed at the bottom of the card (wood, magic, stone, food). These resources are now available to be used for the build action (think of the brown and gray cards in 7 Wonders, if you’re familiar). When you take the Build action, you will be playing a building card from your hand to be built in the tableau in front of you. Since number of buildings is the end game trigger condition, you will be trying to build buildings as much as possible. All building cards have a cost printed on the left side of the card, and those costs will need to be paid for by using the gold you possess. You can use one gold on your own castle card as it provides a wild resource to you, and you can use one gold per card you have Developed previously for their resource benefit. You may even spend your gold to use an opponent’s resources (not their castle! – also akin to 7 Wonders neighbor resource purchasing). The catch here is that you lose that gold piece to your opponent, but they will not be able to use that resource until the beginning of their turn as active player. Most buildings will have benefits printed on them that either take effect immediately or when triggered by another action. When you Recruit an Adventurer, you are using your village’s buildings to attract them to your cause. Each Adventurer’s cost to recruit is printed on the side of the card, and these costs are paid by having the matching symbols on building cards in your village. Once recruited, these Adventurers can also enact conditional abilities similar to building cards, but usually will be advantages to final VP scores. By taking the Tax action you will take one gold from the bank and draw a building card from the offer or the deck.
Now this all seems pretty easy and I have only really mentioned one form of tension by blocking opponents’ use of their own resources if you spend a gold to use it on your turn. Since you reclaim all gold on your castle and resource cards in your village at the beginning of your turn this should cause no problems, right? Well, VoV also uses the follow mechanic that has been employed by other games previously. When you are the active player you choose which action you want to take on your turn, complete that action, and then the same action is offered to your opponents for them to take at a disadvantage. Example: I choose Tax as my action, so I take my gold and my card and my turn is over. Then, going around the table, each player can decide to follow my action but are only able to take a building card as a follow action. No gold. Each action has a Lead and Follow benefit, so you are always paying attention during the game, even on others’ turns because you might still benefit from the chosen actions.
Play continues like this with active player Lead actions and possible others’ Follow actions until someone triggers the end game condition. Then everyone completes the turn and VPs from all cards in your tableau are added (including gold pieces you collected). Most VPs wins the game of Villages of Valeria!
Components. Okay, I have to admit that I have the Kickstarter Deluxe version of this game so I am only speaking from experience with that version. The cards are of really good quality. The gold tokens and active player castle token are great, but the action tracker we found a bit cumbersome to use so we just, like, didn’t. The building tracker and castleeples are great as well. The art is by The Mico, and I just love his art style, so that’s a big positive for me. Overall, the components are really really nice.
So why do I love this game? Well, it’s really a mashup of mechanics that work well for me. I love the Lead/Follow mechanic. I love 7 Wonders, so borrowing some of those mechanics and nuances is a great fit for me. I absolutely LOVE The Mico’s artwork on every Valeria game. No two games of VoV will be alike because the amount of cards that come inside the box (and growing with every expansion) gives such a diverse gaming experience that I love playing. If you like any of the Valeria games and you have yet to try Villages of Valeria you MUST find a copy. You will be drawn in by the familiar feel of Valeria and mechanics from classic games that will surely delight. We at Purple Phoenix Games give this gem a bustling 20 / 24. Long live Valeria!
https://purplephoenixgames.wordpress.com/2019/04/05/villages-of-valeria-review/