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Bob Mann (459 KP) rated 47 Meters Down (2017) in Movies
Sep 29, 2021
Down Down, Deeper and Down.
It’s summer again; it’s a shark movie. Lisa and Kate are two sisters on holiday in Mexico with one grieving a lost relationship and the other looking for fun. Against their better judgement they go shark cage diving 5 metres below a vessel that looks like it should have been in the salvage yard 20 years ago. After a mechanical failure the cage plummets down to the sea bed….. (Go on, how deep? Have a guess. Go on, go on, go on …)
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.
365Flicks (235 KP) rated The Hollow (2016) in Movies
Nov 20, 2019
Often all it takes for me to put a flick on is to see a name of an Actor that I have loved in other movies, this can often make me more forgiving and open to watch the next flick that comes along. When I received The Hollow for the intentions of reviewing. I was smacked in the face by two such names, William Sadler (Shawshank, Die Hard 2) and William Forsythe (Things to Do in Denver When Your Dead, The Rock). Neither actor is setting the world on fire as of late but as a movie fan you know your about to get some solid performances. I was not wrong.
The Hollow is yet another Small Town backwoods crime drama genre in a long line of VOD releases. The difference being that The Hollow has a certain amount of Backwoods charm to it that usually tends to fall flat upon replication, This is in no small part due to the performances driving the Flick. Writer, Director and Star Miles Doleac plays corrupt as balls Deputy Sheriff Ray Everett. In a town that seems to have been forgotten by the outside world Ray is able to function as a truly horrendous unlikable character, But fear not because just about everyone in this down is a bonafide Asshole. The movie kicks into gear fairly quickly when we witness a triple murder down by Make-Out Creek (Thats what they call places like that right). One of the victims being an under-age girl we witnessed barely 10 minutes ago giving Officer Ray some pretty bad head (Like a said he is a proper shit bag)… The FBI comes swarming into town when it is revealed one of the other victims is the daughter of a US Congressman. The game of small town cover up vs government stooges begins.
I’m not going to dive to deep into this flick because it is your standard by the numbers Crime/Drama. I said towards the start of this write-up that sometimes all it takes is a couple of names that you recognize as regular Jobbers who tend to put in solid performances and that is certainly one of the things this movie has going for it. Forsythe, Sadler and Jeff Fahey all being shining lights for me. Not to be out shone in his own movie though Doleac manages to portray a truly horrendous shit bag with no redeeming quality’s at all pretty expertly and that is where your Movie can live or die. Take nothing away from the supporting cast either they were all great just that most characters were fairly one dimensional.
Personally I feel like The Hollow is a good enough movie with some solid performances that you would be kept entertained. The script is not exactly Tarantino levels, while it does at times feel like thats what Doleac was going for, but as I said at the start when you sit down to this movie, you know what your getting.
Its a solid Recommend from 365HQ in a sea of by the numbers Crime/Dramas The Hollow has some pretty great performances and for the directors second Feature Film its a solid effort.
The Hollow is yet another Small Town backwoods crime drama genre in a long line of VOD releases. The difference being that The Hollow has a certain amount of Backwoods charm to it that usually tends to fall flat upon replication, This is in no small part due to the performances driving the Flick. Writer, Director and Star Miles Doleac plays corrupt as balls Deputy Sheriff Ray Everett. In a town that seems to have been forgotten by the outside world Ray is able to function as a truly horrendous unlikable character, But fear not because just about everyone in this down is a bonafide Asshole. The movie kicks into gear fairly quickly when we witness a triple murder down by Make-Out Creek (Thats what they call places like that right). One of the victims being an under-age girl we witnessed barely 10 minutes ago giving Officer Ray some pretty bad head (Like a said he is a proper shit bag)… The FBI comes swarming into town when it is revealed one of the other victims is the daughter of a US Congressman. The game of small town cover up vs government stooges begins.
I’m not going to dive to deep into this flick because it is your standard by the numbers Crime/Drama. I said towards the start of this write-up that sometimes all it takes is a couple of names that you recognize as regular Jobbers who tend to put in solid performances and that is certainly one of the things this movie has going for it. Forsythe, Sadler and Jeff Fahey all being shining lights for me. Not to be out shone in his own movie though Doleac manages to portray a truly horrendous shit bag with no redeeming quality’s at all pretty expertly and that is where your Movie can live or die. Take nothing away from the supporting cast either they were all great just that most characters were fairly one dimensional.
Personally I feel like The Hollow is a good enough movie with some solid performances that you would be kept entertained. The script is not exactly Tarantino levels, while it does at times feel like thats what Doleac was going for, but as I said at the start when you sit down to this movie, you know what your getting.
Its a solid Recommend from 365HQ in a sea of by the numbers Crime/Dramas The Hollow has some pretty great performances and for the directors second Feature Film its a solid effort.
Bob Mann (459 KP) rated All the Money in the World (2017) in Movies
Sep 29, 2021
You can’t take it with you.
The big talking point of this Ridley Scott film is not of course the film itself but the fact that the disgraced Kevin Spacey (“Baby Driver“) was ‘airbrushed’ out of the movie, replaced by the legend that is Christopher Plummer. With that background, and the fact that the re-shoot only took 9 days (NINE DAYS!!!!), I must admit to having been a tad scornful when Plummer was nominated for a Best Supporting Actor Oscar. “Oh” I thought “…it’s Judi Dench’s minimalistic performance in ‘Shakespeare In Love’ all over again”.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
But actually on watching the film I take it all back. Plummer’s role is not, like Dench’s, a mere eight minutes of screen time, but extensive and pivotal. Not only was his nomination richly deserved (his performance is cold, eerie and magnificent!) but Ridley Scott deserved an award for getting so much great footage in the can in such a short space of time.
The film tells the true story of the feckless John Paul Getty III (Charlie Plummer, no relation), grandson to the richest man in the world John Paul Getty I. While in the Piazza Farnese in Rome, JPGIII is kidnapped and a $17 million reward is sought for his release. Whilst claiming to love his offspring, the tycoon is basically a ‘tight git’ and the film concerns the battle of the young heir’s mother Gail (Michelle Williams, “Manchester By The Sea”; “The Greatest Showman”) to persuade JPG1 and his right-hand negotiator Fletcher Chase (Mark Wahlberg, “Patriot’s Day”, “Deep Water Horizon“) to shake the money tree* and get JPGIII released.
*To be fair, JPGIII hasn’t exactly helped his case as it emerges he had previously joked about getting himself kidnapped to get his grandfather’s ransom money!
As I didn’t remember the historical outcome of this, I was in a suitable amount of suspense as to where it would go. It is clear though, from the wiki version of the story, that the ending was significantly ‘sexed-up’ for the movie.
Ridley Scott sensibly balances the views of the Getty’s with the views of the kidnappers, with a semi-sympathetic Italian (Romain Duris) being the focus of those scenes in rural Calabria.
But it’s the scenes with Plummer that really engage. The man as portrayed is an enigma, eccentrically washing his own clothes to save a few pennies and always (ALWAYS) trying to get 20% more on even the most personal of decisions. It makes me really intrigued to see Spacey’s portrayal now… I wonder if the alternate cut might make it onto the Blu-ray? I actually think though that Plummer was the better choice for this: I could see Spacey bringing far too much of Frank Underwood to the role.
Elsewhere in the cast, I think Michelle Williams and Mark Wahlberg are both solid without ever being spectacular and it’s nice to see the talented Andrew Buchan (“The Mercy“; “Broadchurch”) in a more memorable big screen outing as JPG2: his drug-addled son (and JPG3’s father).
Overall, it’s an interesting watch and had me sufficiently engaged to want to watch it again. But without Plummer’s role it wouldn’t really amount to nearly as much.
Lee (2222 KP) rated Aquaman (2018) in Movies
Dec 14, 2018
A very enjoyable DCEU movie!
Before I begin, I just wanted to describe my feelings on the state of the DCEU up until now and hopefully this will be a good indication as to whether or not you're going to agree with me when it comes to Aquaman. So, as I'm sure most people will agree, so far the whole thing has been a bit of a disaster. A rush to try and bottle what Marvel have spent the last 10 years crafting and achieving, with just a handful of below average and inconsistently toned movies. I liked Man of Steel, and I didn't mind Batman V Superman, although I do understand why many people were disappointed. I really enjoyed Wonder Woman, and I found a lot to like within Justice League too. But as for Suicide Squad, well that one was just a ridiculous mess. And with all the uncertainty around the future of Henry Cavill and Ben Affleck in their roles as Superman and Batman, it seems DC still have a long way to go in terms of laying solid foundations for some decent universe building to rival Marvel.
So that brings us to Aquaman, probably the only other character of interest from Justice League who has yet to get his own origin/standalone movie. We got glimpses in Justice League, tastes of the underwater water world, and brief appearances from Amber Heards character Mera, so it's good to be able to expand on what has the potential to be a really strong, interesting character. And under the direction of James Wan, hopefully another welcome deviation from the dark, dull earlier DC movies that received so much criticism.
As far as origin stories go, things get off to a strong start. Lighthouse keeper Thomas Curry finds Atlantean queen Atlanna (Nicole Kidman) washed up on the rocks one day and takes her in to care for her. They fall in love, eventually giving birth to Arthur. A few years later and it's clear that Atlanna cannot stay. She returns to Atlantis, promising that she'll return to him one day, leaving Thomas to raise Arthur. When we join Arthur again, it's one year following the events of the Justice League and the defeat of Steppenwolf. Taking care of a bunch of hi-tech pirates who have boarded a submarine, but still finding time to return home to dad for a few beers and a laugh with the locals. He's left the world of Atlantis behind him, having been banished for being a half breed, and feeling anger at the treatment his mother received for giving birth to him. It's not long though before things all start kicking off and he had to return to life under the sea. Half brother Orm (Patrick Wilson) is looking to wage war on the surface world in retaliation for all the destruction and pollution within the seas, and begins trying to gain support from the seven kingdoms. Meanwhile, one of the pirates Aquaman encountered earlier has got his hands on some Atlantean technology, becoming Black Manta and vowing to get his revenge. During an undersea meeting with Vulko, aid to Atlanna and the man responsible for training Arthur as a child, Arthur is urged to find the lost Trident of Atlan, a magic artifact that once belonged to Atlantis’ first ruler. By wielding the trident, Arthur can reclaim his rightful place as king, hopefully uniting the worlds of land and sea.
There is a LOT going on here, and luckily for the most part, it all works relatively well. The quest for the trident is a bit like an Indiana Jones quest - Arthur and Mera have to undertake a trek across, and below, the Sahara desert, a trip to Sicily, a perilous boat trip and a journey to a hidden world deep within the ocean. The Black Manta storyline seems a bit unnecessary and annoying at times, although does provide some great action (and a setup for a sequel). The underwater scenes involving Atlantis and the other kingdoms are absolutely beautiful to look at, very detailed and imaginative, but these are the areas that unfortunately begin to let the movie down. Culminating in an epic underwater battle involving thousands of different creatures and weapons, the movie ends up as just another DCEU CGI overload.
Despite that, I actually had a lot of fun with this movie, and I particularly loved the action. Fluid, balletic fight scenes, with the viewpoint flowing above and around those involved, we follow a character as he powers through walls and roofs, pulling out to reveal and follow other characters in action, the direction of these scenes is extremely effective. Overall, this is definitely a strong step up for the DCEU and a worthy standalone movie. I just hope they can now keep this momentum going.
So that brings us to Aquaman, probably the only other character of interest from Justice League who has yet to get his own origin/standalone movie. We got glimpses in Justice League, tastes of the underwater water world, and brief appearances from Amber Heards character Mera, so it's good to be able to expand on what has the potential to be a really strong, interesting character. And under the direction of James Wan, hopefully another welcome deviation from the dark, dull earlier DC movies that received so much criticism.
As far as origin stories go, things get off to a strong start. Lighthouse keeper Thomas Curry finds Atlantean queen Atlanna (Nicole Kidman) washed up on the rocks one day and takes her in to care for her. They fall in love, eventually giving birth to Arthur. A few years later and it's clear that Atlanna cannot stay. She returns to Atlantis, promising that she'll return to him one day, leaving Thomas to raise Arthur. When we join Arthur again, it's one year following the events of the Justice League and the defeat of Steppenwolf. Taking care of a bunch of hi-tech pirates who have boarded a submarine, but still finding time to return home to dad for a few beers and a laugh with the locals. He's left the world of Atlantis behind him, having been banished for being a half breed, and feeling anger at the treatment his mother received for giving birth to him. It's not long though before things all start kicking off and he had to return to life under the sea. Half brother Orm (Patrick Wilson) is looking to wage war on the surface world in retaliation for all the destruction and pollution within the seas, and begins trying to gain support from the seven kingdoms. Meanwhile, one of the pirates Aquaman encountered earlier has got his hands on some Atlantean technology, becoming Black Manta and vowing to get his revenge. During an undersea meeting with Vulko, aid to Atlanna and the man responsible for training Arthur as a child, Arthur is urged to find the lost Trident of Atlan, a magic artifact that once belonged to Atlantis’ first ruler. By wielding the trident, Arthur can reclaim his rightful place as king, hopefully uniting the worlds of land and sea.
There is a LOT going on here, and luckily for the most part, it all works relatively well. The quest for the trident is a bit like an Indiana Jones quest - Arthur and Mera have to undertake a trek across, and below, the Sahara desert, a trip to Sicily, a perilous boat trip and a journey to a hidden world deep within the ocean. The Black Manta storyline seems a bit unnecessary and annoying at times, although does provide some great action (and a setup for a sequel). The underwater scenes involving Atlantis and the other kingdoms are absolutely beautiful to look at, very detailed and imaginative, but these are the areas that unfortunately begin to let the movie down. Culminating in an epic underwater battle involving thousands of different creatures and weapons, the movie ends up as just another DCEU CGI overload.
Despite that, I actually had a lot of fun with this movie, and I particularly loved the action. Fluid, balletic fight scenes, with the viewpoint flowing above and around those involved, we follow a character as he powers through walls and roofs, pulling out to reveal and follow other characters in action, the direction of these scenes is extremely effective. Overall, this is definitely a strong step up for the DCEU and a worthy standalone movie. I just hope they can now keep this momentum going.
Gareth von Kallenbach (980 KP) rated Maneater in Video Games
Jul 26, 2019
Talking Maneater With Bill Munk – Game Director at Tripwire Interactive
Recently I spoke with Bill Munk – Game Director at Tripwire Interactive about their pending game Maneater. I saw the game at E3 and it looks like a promising game indeed.
What is the background and setting for the game?
Maneater is a single-player, open world, action RPG set in a fictionalized version of the US Gulf Coast. Players take on the role of a baby bull shark torn from its mother’s belly. Your only tools are your wits, your jaws, and an uncanny ability to evolve as you feed. Anything and everything is on the menu… provided you kill it before it kills you.
How did the idea to play as a Shark come about?
The concept for Maneater originally came from Alex Quick, the creator of Depth and director for the original Killing Floor. Tripwire Interactive loved the over-the-top and new approach to the action RPG and open world genres so much, they decided to bring the project in-house, increasing the development staff and budget to bring the team’s concept to life.
How many levels and areas are planned for the game at release?
Players should expect a vast variety of environments to explore, including, swamps, beach resorts, sunken ship wrecks, all the way out to the deep blue sea.
What are some of the customizations that will be available and how will players be able to upgrade their character?
As players continue to eat and explore, they’ll acquire key nutrients, which can be used to help them evolve. This is where the “RPG” progression systems in Maneater really come into play. Players can choose from a variety of evolutions, that may help with increased biting power, more maneuverability, armor, and more.
What are some of the moves players will be able to do and will new moves unlock later in the game?
We really want to make sure the act of swimming and feeding feels satisfying and meaty. During our E3 demo, you saw players knifing along the surface of the water, breaching onto land, barrel rolling and charging shark bounty hunters, and diving deep into the water to gain momentum for large leaps.
What can you tell us about the enemies that players will face in the game?
Each region in the game has an Apex Predator. As you battle smaller predators and consume food in each region, the apex will do whatever it takes to protect their food source. Maneater also features a bounty system. As you wreak havoc along the coast, your infamy level will rise. This causes local bounty hunters to search for you while trying to end your feeding frenzy. Depending on your infamy level, the bounty hunters will become more difficult ranging from hunters on small skiffs, all the way up to bringing out the coast guard.
The gameplay we saw at E3 looked like fun but I was curious about how the story will advance and how do you avoid the issue of repetition in the gameplay?
Maneater is a “dueling tales of revenge” story featuring Scaly Pete, who we revealed in our newest E3 trailer. Without revealing too much, Scaly Pete is responsible for tearing you from your mother’s belly, and you manage to escape into the open waters of the gulf. That’s where our story begins. Maneater is presented through the lens of a reality TV show called “Shark Hunters vs. Maneaters” that follows the adventures of Scaly Pete as he’s hunting you throughout our world. This also allows us to follow our player shark and give a voice to the actions of the player through the show’s narrator, who is voiced by Chris Parnell.
Will the game offer multiplayer or DLC?
Right now, we want to focus on making Maneater a fantastic single-player Action RPG experience.
What are some of your favorite moves in the game?
Breaching is one of the most satisfying shark moves we’ve been working on. Breaching out of shallow waters to feed on unsuspecting beach goers on land or even on a large shark bounty hunter boat captures the over-the-top fun and ridiculousness we’re aiming for with Maneater. We’re also working really hard on what we call the “whip-shot”, where you can tail whip anything that’s in your mouth, turning objects into weaponized projectiles.
What can you tell us about the music and sound effects in the game?
We’ve been working really hard on our dynamic music system, that is constantly adapting to what the player is doing throughout the game. It’s also been an interesting challenge creating sound effects for above the water with boats, explosions and civilians and then creating a whole new set of sound effects for the underwater world, including for the underwater wildlife, underwater sounds of the boats and swimmers and so much more.
Are you planning on being at PAX West with the game?
We can’t wait to tell you more about our plans for Maneater at future shows. In the meantime, we’d recommend your readers follow @maneatergame on Twitter for the latest.
Recently I spoke with Bill Munk – Game Director at Tripwire Interactive about their pending game Maneater. I saw the game at E3 and it looks like a promising game indeed.
What is the background and setting for the game?
Maneater is a single-player, open world, action RPG set in a fictionalized version of the US Gulf Coast. Players take on the role of a baby bull shark torn from its mother’s belly. Your only tools are your wits, your jaws, and an uncanny ability to evolve as you feed. Anything and everything is on the menu… provided you kill it before it kills you.
How did the idea to play as a Shark come about?
The concept for Maneater originally came from Alex Quick, the creator of Depth and director for the original Killing Floor. Tripwire Interactive loved the over-the-top and new approach to the action RPG and open world genres so much, they decided to bring the project in-house, increasing the development staff and budget to bring the team’s concept to life.
How many levels and areas are planned for the game at release?
Players should expect a vast variety of environments to explore, including, swamps, beach resorts, sunken ship wrecks, all the way out to the deep blue sea.
What are some of the customizations that will be available and how will players be able to upgrade their character?
As players continue to eat and explore, they’ll acquire key nutrients, which can be used to help them evolve. This is where the “RPG” progression systems in Maneater really come into play. Players can choose from a variety of evolutions, that may help with increased biting power, more maneuverability, armor, and more.
What are some of the moves players will be able to do and will new moves unlock later in the game?
We really want to make sure the act of swimming and feeding feels satisfying and meaty. During our E3 demo, you saw players knifing along the surface of the water, breaching onto land, barrel rolling and charging shark bounty hunters, and diving deep into the water to gain momentum for large leaps.
What can you tell us about the enemies that players will face in the game?
Each region in the game has an Apex Predator. As you battle smaller predators and consume food in each region, the apex will do whatever it takes to protect their food source. Maneater also features a bounty system. As you wreak havoc along the coast, your infamy level will rise. This causes local bounty hunters to search for you while trying to end your feeding frenzy. Depending on your infamy level, the bounty hunters will become more difficult ranging from hunters on small skiffs, all the way up to bringing out the coast guard.
The gameplay we saw at E3 looked like fun but I was curious about how the story will advance and how do you avoid the issue of repetition in the gameplay?
Maneater is a “dueling tales of revenge” story featuring Scaly Pete, who we revealed in our newest E3 trailer. Without revealing too much, Scaly Pete is responsible for tearing you from your mother’s belly, and you manage to escape into the open waters of the gulf. That’s where our story begins. Maneater is presented through the lens of a reality TV show called “Shark Hunters vs. Maneaters” that follows the adventures of Scaly Pete as he’s hunting you throughout our world. This also allows us to follow our player shark and give a voice to the actions of the player through the show’s narrator, who is voiced by Chris Parnell.
Will the game offer multiplayer or DLC?
Right now, we want to focus on making Maneater a fantastic single-player Action RPG experience.
What are some of your favorite moves in the game?
Breaching is one of the most satisfying shark moves we’ve been working on. Breaching out of shallow waters to feed on unsuspecting beach goers on land or even on a large shark bounty hunter boat captures the over-the-top fun and ridiculousness we’re aiming for with Maneater. We’re also working really hard on what we call the “whip-shot”, where you can tail whip anything that’s in your mouth, turning objects into weaponized projectiles.
What can you tell us about the music and sound effects in the game?
We’ve been working really hard on our dynamic music system, that is constantly adapting to what the player is doing throughout the game. It’s also been an interesting challenge creating sound effects for above the water with boats, explosions and civilians and then creating a whole new set of sound effects for the underwater world, including for the underwater wildlife, underwater sounds of the boats and swimmers and so much more.
Are you planning on being at PAX West with the game?
We can’t wait to tell you more about our plans for Maneater at future shows. In the meantime, we’d recommend your readers follow @maneatergame on Twitter for the latest.
postapocalypticplayground (27 KP) rated The Wicked Deep in Books
May 1, 2018
Everything a contemporary fantasy should be
I got a copy of The Wicked Deep in a book sub box, I had seen it around but didn't know much about it which is perfect because sometimes knowing can turn me away, as i'm often a creature of habit. I'm not really a fan of fantasy in a contemporary setting but this book changed my mind completely! I think that this is because the small town of Sparrow doesn't feel contemporary. Forgotten for most of the year, it's a crumbling town being slowly reclaimed by the sea. With no chain stores or high street names it's kind of trapped in time, which all ends up adding to the authenticity of Swan Season - A short time each year where it's said that the drowned witch Swan sisters return to the shore to claim the lives of men in the town. Despite there actually being annual deaths, tourists still flock to Sparrow every year. The story is also nicely interposed with chapters about the history of the town and the Swan sisters time there, which also gives it a less contemporary feel.
Before I go any further I want to cut to one thing, this book has been published by Simon and Schuster's Children's Division - so set your sights here. Yes this is a tale of darkness, murder and revenge, but don't expect it to be graphic or horrifying - I mention this as I have seen some people complain that it isn't enough of those things. YA covers a large age range and sometimes it's going to be towards the lower end and to be honest, the story telling is so fantastic that it doesn't need to be graphic or over the top. I think Shea Ernshaw does an amazing job of conveying dread without resorting to shock. That's also evident that despite the subject matter this is a really easy and captivating read, I couldn't put it down and read it in a day!
There isn't a character I disliked. The sisters were portrayed brilliantly, all reacting differently to the 200 years of vengeance and I found it a really interesting take on how they can become either weary or sharpened by this. The children of the town as well were thoughtfully considered with how they have come to accept the fate of the town they were born into, and almost embrace it like a birthright, despite knowing what the fates could have in store. I want to be careful of saying too much about the characters as there is some brilliant misdirection and a twist to this tale, which kept me on my toes.
The story feels very ethereal, from the mists of the sisters song to the decrepit lighthouse island and the run down township. Even the antics of the children at the start of Swan Season seems as if they are already under a spell rather than the elaborate dares they look to be playing - perhaps that is a spell over the whole town, in that they float along knowing what is coming yet seem in no hurry to change or move to do anything about it.
I loved this book for so many reasons and it's beautifully not afraid to be a stand alone which is so refreshing at the moment. The cover is gorgeous too! I have no hesitation in giving this book 5*
Before I go any further I want to cut to one thing, this book has been published by Simon and Schuster's Children's Division - so set your sights here. Yes this is a tale of darkness, murder and revenge, but don't expect it to be graphic or horrifying - I mention this as I have seen some people complain that it isn't enough of those things. YA covers a large age range and sometimes it's going to be towards the lower end and to be honest, the story telling is so fantastic that it doesn't need to be graphic or over the top. I think Shea Ernshaw does an amazing job of conveying dread without resorting to shock. That's also evident that despite the subject matter this is a really easy and captivating read, I couldn't put it down and read it in a day!
There isn't a character I disliked. The sisters were portrayed brilliantly, all reacting differently to the 200 years of vengeance and I found it a really interesting take on how they can become either weary or sharpened by this. The children of the town as well were thoughtfully considered with how they have come to accept the fate of the town they were born into, and almost embrace it like a birthright, despite knowing what the fates could have in store. I want to be careful of saying too much about the characters as there is some brilliant misdirection and a twist to this tale, which kept me on my toes.
The story feels very ethereal, from the mists of the sisters song to the decrepit lighthouse island and the run down township. Even the antics of the children at the start of Swan Season seems as if they are already under a spell rather than the elaborate dares they look to be playing - perhaps that is a spell over the whole town, in that they float along knowing what is coming yet seem in no hurry to change or move to do anything about it.
I loved this book for so many reasons and it's beautifully not afraid to be a stand alone which is so refreshing at the moment. The cover is gorgeous too! I have no hesitation in giving this book 5*
BankofMarquis (1832 KP) rated The Meg (2018) in Movies
Dec 4, 2018
Not "So Awful It's Good", just Awful
One of the surprise hits of the summer of 2018 was the "so bad it's good" mega-shark movie THE MEG, starring the impediment of modern-day machismo, Jason Statham. So, when I saw that it was streaming on DirecTV, I thought I'd melt into the couch with a blanket and a beverage of my choice and relish in the over-the-top awfulness that is THE MEG.
Well...I am here to report that THE MEG is awful, just not over-the-top "so bad it's good" awful. It's just awful - and that is an awful disappointment.
I can see the pitch now - THE MEG is "Jaws, but bigger, it's Mega-Jaws! What were the best parts of Jaws? Well, we're gonna do that again, just more!" But what these filmmakers failed to realize is that the best part of Jaws isn't the shark attacking, it's the interaction of the 3 men who go off in search of the shark.
And...the folks that are "fish-fodder" for this big shark just aren't interesting enough. The filmmakers give Jason Statham a PTSD backstory that is forgotten about 2 minutes into the film. His nemesis/former crewmate (a forgettable Robert Taylor) hates Statham's character for about 5 minutes...the stalwart captain is...well stalwart and he is played by "I always melt into the background" Cliff Curtis. Rubie Rose is on-board as the "young genius" who's good looks and youth makes everyone underestimate her - even after she proves over and over again that she is young and a GENIUS. And then, there's good ol' Rain Wilson (Dwight from THE OFFICE) who's the megalomaniacal mega-billionaire who wants to capture (not kill) The Meg for profit.
The problem with all these characters (and others like Masi Oka's homesick scientist) is that they are one-note but not SO one note that they are over-the-top caricatures. They're just boring and forgettable.
As for the shark killings (the real reason that The Meg is intriguing), they are just as boring and forgettable as the characters. Most of them are homages to kills ni the Jaws series of films, so there is some fun in that, but none of them are truly unique and original or over-the-top enough.
The blame, I think, probably goes to "the suits" at Warner Brothers or perhaps Gravity Pictures. There are 3 writers on this, so clearly the script kept getting sent back to the drawing board - and 19(!) producers attached. I heard that Eli Roth was attached at one point and he wanted to make it EXTREMELY graphic and bloody - but "the suits" wanted something they could market to a broader audience, so let him go and hired the always mediocre Jon Turtletaub (LAST VEGAS, THE SORCERER'S APPRENTICE) to Direct and mediocrity reigns all over.
If you want a "so bad it's good" mega-shark film and check out DEEP BLUE SEA (the Samuel L. Jackson speech in this film is worth the price of admission). And when you see THE MEG on whatever streaming platform you prefer and are prepared to watch it "for a laugh", save yourself the bother (and the boredom) and stream something else.
Letter Grade: C (it is competently made)
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
Well...I am here to report that THE MEG is awful, just not over-the-top "so bad it's good" awful. It's just awful - and that is an awful disappointment.
I can see the pitch now - THE MEG is "Jaws, but bigger, it's Mega-Jaws! What were the best parts of Jaws? Well, we're gonna do that again, just more!" But what these filmmakers failed to realize is that the best part of Jaws isn't the shark attacking, it's the interaction of the 3 men who go off in search of the shark.
And...the folks that are "fish-fodder" for this big shark just aren't interesting enough. The filmmakers give Jason Statham a PTSD backstory that is forgotten about 2 minutes into the film. His nemesis/former crewmate (a forgettable Robert Taylor) hates Statham's character for about 5 minutes...the stalwart captain is...well stalwart and he is played by "I always melt into the background" Cliff Curtis. Rubie Rose is on-board as the "young genius" who's good looks and youth makes everyone underestimate her - even after she proves over and over again that she is young and a GENIUS. And then, there's good ol' Rain Wilson (Dwight from THE OFFICE) who's the megalomaniacal mega-billionaire who wants to capture (not kill) The Meg for profit.
The problem with all these characters (and others like Masi Oka's homesick scientist) is that they are one-note but not SO one note that they are over-the-top caricatures. They're just boring and forgettable.
As for the shark killings (the real reason that The Meg is intriguing), they are just as boring and forgettable as the characters. Most of them are homages to kills ni the Jaws series of films, so there is some fun in that, but none of them are truly unique and original or over-the-top enough.
The blame, I think, probably goes to "the suits" at Warner Brothers or perhaps Gravity Pictures. There are 3 writers on this, so clearly the script kept getting sent back to the drawing board - and 19(!) producers attached. I heard that Eli Roth was attached at one point and he wanted to make it EXTREMELY graphic and bloody - but "the suits" wanted something they could market to a broader audience, so let him go and hired the always mediocre Jon Turtletaub (LAST VEGAS, THE SORCERER'S APPRENTICE) to Direct and mediocrity reigns all over.
If you want a "so bad it's good" mega-shark film and check out DEEP BLUE SEA (the Samuel L. Jackson speech in this film is worth the price of admission). And when you see THE MEG on whatever streaming platform you prefer and are prepared to watch it "for a laugh", save yourself the bother (and the boredom) and stream something else.
Letter Grade: C (it is competently made)
4 stars (out of 10) and you can take that to the Bank(ofMarquis)
